明代音乐图谱所见工尺唱名体系初探

A Study on Gongche (工尺) Tablature' s Solmization System of Ming Dynasty

文章以明代音乐图谱文献及相关传统音乐遗存为基础,从音乐实践角度探讨当时工尺谱唱名体系的应用特点。通过对相关乐器音位及雅乐与俗乐曲谱的分析梳理,认为完善自宋代的以"合"为调首配黄钟的固定工尺唱名体系,在明代仍见施用;同时,以"尺"为调首的工尺唱名系统,则以其深厚的历史渊源,始终贯穿于明代俗乐发展之中。明代俗乐实践中所用工尺唱名的主体,是以"正宫调(五字调)调名系统"为基础的固定唱名。工尺谱在发展历程中对不同唱名及调名体系的选择,是以其相应的主流乐器机制和音乐实践需要为基础和支撑的。

Based on the music graphics, tablatures and traditional music remains, this thesis discusses the application features of Gongche （工尺） tablature＇ s solmization system of Ming Dynasty. The author believes that Song Dynasty＇s fixeddo system i. e. the He time, another system the Che （尺） as the long history. The main body of the Gongch based on Zhenggong （正宫） key system. （合） as the fixed keynote was still used in Ming Dynasty. At the same fixed keynote was existed in Ming Dynasty＇ s folk music because of its e （工尺） solmization system of Ming Dynasty was a fixeddo system