关于《乐学轨范》记载的唐琵琶制度研究

Study on Tang Pipa Recorded in Akhakgwebeom

本研究的目的是通过《乐学轨范》唐琵琶的制度,跟追了《世宗实录.五礼》、《国朝五礼仪序列》、《乐学轨范》中记载的唐琵琶的构造等其乐器的变迁过程。尤其乐器的木柄部分和腹板部分中设置的"柱"数量来看,朝鲜前期的韩国唐琵琶保留了古代伊朗系统的4弦曲颈琵琶的原型。还有《乐学轨范》唐琵琶"柱"的数量比《世宗实录.五礼》少多了,而且第1柱到第4柱是在演奏唐乐时使用的柱,第4柱以下都是在演奏乡乐的时候使用。所以,腹板上增加的柱的主要功能是为了演奏乡乐或新乐的平调、界面调等。到《琴合字谱》时期一直没有变化。这样看来,当代韩国琵琶需要发展的话,在《乐学轨范》唐琵琶的基础上还需要更多的柱,这些柱的安排可以给我们提供当代音乐的要求。

By studying on the form of Tang pipa(pipa is a four-stringed Chinese instrument,Tang pipa stands for the instrument of the Tang Dynasty) recorded in Akhakgwebeom(A Guide to the study of Music),this paper describes the change of musical instruments in form including Tang pipa recorded in 'five rites' of Se-jong Sillok(Veritable Records of King Sejong's Era),Gukjo Oryeui(National Five Rites) and Akhakgwebeom.In terms of the number of frets on the neck and belly,Korean Tang pipa in the early period of Korean times keeps the prototype of pipa with four strings and a crooked neck in the ancient Iranian system.Moreover,the fret number of Tang pipa recorded in Akhakgwebeom is much smaller than that in 'five rites' of Se-jong Sillok,and the first to fourth fret are used for playing Tang music(music for meeting and banquet) with the other frets below for secular music.Therefore,increased frets on the belly mainly function in the Pyeongjo('flat mode') and gyemyeonjo('bound mode') for secular music,which has not changed till the very late years.To further promote the development of pipa in Korea,more frets should be added so that the need for modern music can be met.