康熙皇帝学弹《普庵咒》考释

On Emperor Kangxi's Learning to Play Pu'an Mantra

在近代中西音乐文化交流史上,外国来华传教士徐日昇教康熙皇帝弹奏《普庵咒》一事,不仅国人传为佳话,西方学者也不断有著作论及。但对这究竟是怎么教弹的至今无人解释过。深入研究徐日昇为康熙编写的教材《律吕纂要》后认为,《普庵咒》就是《律吕纂要》中“配合作乐”法的教学案例,属于启蒙性教材。其“配合作乐”法是西方“新艺术”时期的“音程协和理论”。选择这过时的音乐理论的目的就是为了教弹《普庵咒》,因为《普庵咒》曲谱原本就带有音程这一音乐形式存在。而西方“新艺术”时期的“音程协和理论”正好基本能解释我国《普庵咒》曲谱中的音程现象。徐日昇没有选择当时西方前沿的音乐理论,目的就是为实施利玛窦的“文化适应”策略,而不是传播更具时代特征的音乐理论。

In the history of modern music and cultural exchanges between China and the west, Xu Risheng, a foreign missionary to China, taught Emperor Kangxi to play the Pu'an mantra, which is not only well-known among Chinese people, but also discussed by western scholars. However, no one has explained how to teach it. After studying the Lülü Zuan Yao by Xu Risheng for Kangxi, it is found that the Pu'an mantra is the teaching case of "cooperative music" and therefore, Lülü Zuan Yao is an enlightening textbook. His "cooperative music" method is the "interval concordance theory" in the western "new art" period. The purpose of choosing this outdated music theory is to teach to play Pu'an mantra, because the music score of Pu'an mantra originally has a musical form of interval. The "interval concordance theory" in the western "new art" period can basically explain the interval phenomenon in the score of Puan mantra in China. Xu Risheng did not choose the frontier western music theory at that time. His purpose was to implement Ricci's "cultural adaptation" strategy, rather than spread more advanced music theory.