李文利《大乐律吕元声》考略

The Review of Li Wenli Dayuelilyuansheng

明弘治间李文利著《大乐律吕元声》,始刻于嘉靖三年(1524年),重刊于嘉靖十四年(1535年),今存多种刊本及钞本,是著以《吕氏春秋》为本,取黄钟长三寸九分说为理论基础,建立了迥异于朱熹、蔡元定的乐律学体系。书中重序五声清浊,援易入乐,变更三分损益法,改革候气术,种种“异说”引领了明中后期乐学疑古思潮。侯后黄积庆、王邦直、瞿九思等人皆从之,与韩邦奇、王廷相等关学一脉所承黄钟九寸说分庭抗礼,影响了明中后期乐律学发展走向。

"Dayueliliyuansheng,"writen by Li Wen-li during the Hongzhi Period of the Ming Dynasty,was originally published in the 3rd year of the Jiajing Period and later republished in the 14th year of the same period.Presently,there exist several versions of this book.It is based on Master Li's Spring and Autumn Annals and adopts a length of 3 cuns and 9 fens as Huangzhong.Building upon this foundation,Li developed a new temperament theory that differed from those of Zhu Xi and Cai Yuanding.The book extensively describes pentatonic scales,voiced and voiceless sounds,introduces the incorporation of Yijing into music theory,and explores the alternation of the sanfen-sunyi method and houqi technique.This work sparked an intellectual trend in questioning ancient music theory during the middle and late Ming Dynasty.Huang Ji-qing,Wang Bangzhi,Qu Jiu-si,and others followed Li's theories,engaging in debates against the assertions of Han Bang-qi and Wang Ting-xiang,who advocated for a Huangzhong length of 9 cuns."Dayueliuliyuansheng"significantly influenced the historical development of temperament theory during the middle and late Ming Dynasty.