摘要
朱载堉在《律学新说》"论大阴阳、小阴阳"篇中,引前世律家之言,论十二律之"阴阳"及上、下相生之本原,辨诸家之得失,驳班固、季通之乖谬,是一篇自《吕氏春秋》、《淮南子》问世以来,有关三分损益十二律相生次序的正本清源之作,对解读秦汉以来的三分损益律理论,解析其相关乐律学术语,具有重要的指导意义。通过解读朱载堉该篇之言,文章作者进一步梳理前世律家聚讼不绝的"十二律相生次序之辩",以揭示"上生"、"下生"术语的本原。
In the section of On Yin and yang （the two opposing principles in nature, the former feminine and negative and the latter masculine and positive） in the work LvXue XinShuo （New Theory On Music Temperaments）, based on former scholars words Zhu Zaiyu discussed the YirrYang of twelve temperaments with essential of inter-promoting relation to up and down, discrimination the different schools success and failure, criticize absurd by Ban Gu and Ji Tong. It was a radically reform work on sanfen sunyi twelve temperaments since Lvshi Chunqiu and HuaiNanZi came out. Through reading Zhu Zaiyu＇s words, the article organized the former scholars ideas to the arguments on the order of inter-promotion relation in twelve temperaments, explored the essential of terms shangsheng and xiasheng.
出处
《黄钟（武汉音乐学院学报）》
CSSCI
北大核心
2008年第2期129-136,共8页
Huangzhong:Journal of Wuhan Conservatory of Music
关键词
朱载埔
《律学新说》
十二律
“上生”
“下生”
解析
Zhu Zaiyu （1536～1610）, LvXue XinShuo （New Theory On Music Temperaments）, twelve temperaments, analysis
