我国早期陶埙的乐音选择与多声形态

A Trail Discussion on the Choices of Musical Sounds and Polyphonic Morphology of the Early Pottery Xun in China

从我国陶埙的测音数据整理出来的音列可发现,远古的人们并非一开始就局限于晚商或西周青铜钟铙音列中相对稳定的四声,相反,他们对自然乐音的选择甚为灵活,组成的音列甚为丰富。这一事实与制作、材料、社会层面及各时期人们的认识水平相关。本文以为,陶埙的制作和音阶的发展是感性经验的结果,以实践为基础。其音列多样化、音阶多声化为后世特别是周代钟磬乐音列的设置提供了选择的余地与宝贵的经验,并使钟磬乐音列从早期的感性实践中总结出数理规律来。

According to the note row sorted out by music testing data in the Chinese pottery Xun,it is found that ancient people were not limited,from the beginning,by the four-tone in the relatively steady note row of Late Shang Dynasty and Western Zhou Bronze Bell and Cymbals.On the contrary,they were more flexible in choosing the musical sounds and versatile in note row.This fact has something to do with the production,materials,social aspects and the understanding levels of the time.The thesis puts forward that the production and the development of scale were results of the perceptual experiences based on practice.The variety of note rows and polyphonic scale have provided more choices and precious experiences for future generations,especially the specification of the note row of chime stones music of the Zhou Dynasty,enabling the chime stones music to summarize the mathematical laws from its early perceptual practice.