虞山琴派之律制研究——以《松弦馆琴谱》为例

Research on Temperament Laws of Yushan Guqin School——A Case Study of Songxian Guan Qin Scores

古琴家历来将三分损益律奉为先王之制,而将纯律之三度与六度视为不当律。千百年来,古琴的纯律已不被琴家所重视,也没有人再进行阐述古琴的纯音风格。到了明代,以严为代表的虞山派琴家,为我们留下了许多用纯律演奏的琴曲。《松弦馆琴谱》全部28首琴曲,无一例外,为自然律制(纯律)。从它们的徽间音来看,其音高都是以纯律为基础。这与徐青山在《大还阁琴谱》中确立的徽分音,偏向三分损益律,有很大不同。虞山琴派的所谓清微淡远风格,其强调琴音的清纯,与广泛使用纯律有很大关系。

Experts on guqin （a seven-stringed plucked instrmnent） have always regarded sanfensunyi as a law formulated by ancestral kings and just intonation as an improper temperament. For thousands of years, just intonation of guqin had not been valued by experts, and there existed no interpretations of its pure tones. In the Ming Dyansty, Yushan Guqin School represented by Yan Cheng left us many pieces of guqin music played with just intonation. All 28 pieces from Songxian Guan Qin Scores follow the natural law of temperament with no exception. Yushan School＇ s elegant and serene style is much related with its emphasis on the purity of guqin sounds and wide use of just intonation.