唐乐琵琶三谱考辨

An Analysis of Three Copies of Musical Scores of Pipa in Tang Dynasty

本文将《敦煌乐谱》《五弦谱》《三五要录谱》三谱综合起来进行考辨,对唐代音乐研究提供了最为坚实的基础。这是因为通过对乐谱的分析考辨,比起通过有关文献的文字记载来进行研究,有着更直接、更确凿、更便利的好处。而且,在古代还缺乏保存音乐手段的情况下,乐谱显然是唯一能再现当时音乐的重要途径。虽然由于那时记谱的手段还不够成熟,但毕竟能在一定程度上把旋律曲调记录下来。解译这些乐谱就能在很大程度上,还原与接近乐曲的原来面貌。正像现在科学已能根据物种的DNA,最大程度地来复原现已消失的物种面貌那样。我们以往较多的是在文献记载及纯乐调理论上的交锋,显然不如在乐谱上的交锋来得更为有力,也获益良多。而乐谱的考辨主要集中在对旋律曲调的解译,深入细致地来分析与此相关的乐器上的具体定弦、乐曲的调性、调式以及节拍、节奏诸方面,这样才能探究出唐代音乐的实质来。

As a comprehensive interpretation of three copies of musical scores,i.e. Dunhuang Musical Score, Five-stringed Pipa Musical Score and Sango Yoroku Musical Score, this paper will provide a solid foundation for the study of music in Tang Dynasty, because the analysis of musical scores is more straightforward, conclusive and convenient than the study of related literature. In light of insufficient means for music preservation in ancient times, a musical score was evidently the only important way to reproduce the music at that time. Despite the immaturity of notation approaches, the melodies and tones to some extent were recorded. A proper interpretation of these musical scores will largely restore a musical composition to its original form. Modern science has used DNA from the remains of an extinct species to furthest bring it back to life. It is obvious that our previous study of documentary records and pure modal theories is not as powerful and beneficial as the study of musical scores which is mainly focused on interpretations of melodies and tunes as well as thorough analyses of specific tuning of related musical instrument, tonality of a piece of music, its mode, beat, rhythm, etc. Only in this way, we can explore the essence of music in Tang Dynasty.