管色十二律位系统的旋宫实践与音律结构——系列研究之一:“阴阳旋宫”的音律结构与律制模型

The Practice of Xuangong and Structure of Chinese 12-tone Temperament in Chinese Traditional Wind Instruments(Ⅰ):The Temperament Structure and Models of Yinyang Xuangong

管色乐器及其音乐表现,是传统器乐独奏艺术与笙管乐、丝竹乐等乐种实践的重要组成部分。管色乐器的形制特征、演奏技法和音律结构等,直接影响着中国传统音乐的音律、宫调乃至创曲理论。本文为“管色十二律位系统的旋宫实践与音律结构”系列研究之一,首先聚焦笛、箫、管子等传统管色乐器的“阴阳旋宫”实践,通过对相关历史文献、演奏技法与音律数据的梳理归纳分析,从理论上揭示管色乐器以“按孔音位”为基础、以“十二律位”为统率、以“阴阳旋宫十八律”为特质的律调理论规范,阐明其与唐宋俗乐二十八调理论的渊源,及其在音乐历史形态发展中的融通与流变,为传统音乐理论的继承与阐扬提供参考。

Chinese wind instruments and their music expressions are an important part of Chinese traditional solo instrumental music,sheng-guan yue(wind music),sizhuyue(silk and bamboo music)and other music practices.The structure characteristics,performance techniques and temperament structure of Chinese wind instruments have a direct impact on temperament,key and mode,and composition theory of Chinese music system of.As one of a serial study on the practice of xuangong and structure of the Chinese 12-tone temperament in Chinese traditional wind instruments,this paper focuses on the practice of yinyang xuangong in Chinese traditional wind instruments such as di,xiao,and guanzi.Through analysis of related historical documents,performance techniques and temperament data,this study theoretically reveals that a unique temperament theory of Chinese wind instruments has been formed based on the positions of holes in the instrument,12-tone temperament theory and yinyang xuangong 18-tone.It clarifies its origin with 28 diao(28 keys and modes)in secular music in Tang and Song dynasty,and its development and change.It also provides a reference for inheriting and developing Chinese traditional music theory.