摘要
《淮南子·天文训》"和"、"穆"一段文字有"比",它是中国古代特指十二律吕相生关系的专业术语,这可从中国传统琴学理论中找到证据,也可从《淮南子.览冥训》中找到旁证;而王引之旧说与东汉高诱旧注均为误说,董珊研究存在版本之误,上博藏战国楚竹书的"宫穆"与"徵和"应当分别是指"宫"、"穆"、"徵"、"和"地位平等的阶名。文章对《淮南子·天文训》第25段进行校勘,并认为:中国传统三大音阶瑟调、楚调、侧调,完全符合当今学界所倡导的"三重证据法",这个可靠的结论是进入到当代中国基本乐理的时候了。
In Huainanzi-Tianwenxun there is one paragraph which deals with He and Mu, and also mentions Bi. Bi is a term for 12-Lu-lu temperament in ancient China; this can be proved by the evidences in Chinese traditional Qin theory and in Huainanzi-Lanmingxun. The explanation of Wang Yinzhi and annotation of Gao You in East-Han Dy- nasty are all wrong; Dong Shan＇ s study was based on wrong editions. The terms Gongmu and Zhihe in the bamboo book of the Warring States Period collected by Shanghai Museum refer respectively to Gong, Mu, Zhi and He which are the names of scale steps with equal status. The paper collates the paragraph 25 in Huainanzi-Tianwenxun and believes that Chinese traditional major scales Sediao, Chudiao and Cediao completely accord with the ＂rule of trievidences＂ advocated by modern intellectual circle. It is the time that this reliable conclusion should come into fun, damental music theory of modern China.
出处
《星海音乐学院学报》
CSSCI
2011年第4期32-35,共4页
Journal of Xinghai Conservatory of Music
