论京房六十律的推演模式和历史价值

The Deductive Model and Historical Value of Jing Fang’s Sixty li

西汉京房承袭先秦以来的律历互通观念,以孟喜“六日七分”和焦延寿“分卦直日”为基础,按直日原则和三分损益法推出六十律用于占候,在时间制度的立场上而非“旋宫转调”的音乐视角下完成六十律的“还相为宫”。无论作为历律抑或乐律,京房六十律均有实践局限性,一是所占的三百六十六日未能精确地合于回归年日数,二是分律过细无益于演奏。汉时,京房六十律的历法价值高于音乐价值,故被宫廷用于候气而弦准失传。至后世,律学家借助于对京房六十律的批繁指误而突破了不平均律与平均律之间的界限,使京房六十律在历史上的音乐贡献高于其历法贡献。

In the Western Han Dynasty,Jing Fang inherited the concept of the exchange between lu and li(musical theory and calendrical calculations)since the pre-Qin period.Based on the Msix days and seven partsw by Meng Xi and the“divide the hexagrams into days”by Jiao Yanshou,Jing Fang used the principle of direct days and the method of Sanfensunyi to derive the sixty liifor divination.Regardless of whether it is used as a calendrical system or a musical system,Jing Fang's theory has practical limitations.Firstly,the 366 days do not correspond exactly to the number of days in a tropical year.Secondly,the detailed division of the scales is not helpful for performance.During the Han dynasty,the calendrical value of Jing Fang's Sixty Lii was higher than its musical value,and it was therefore used by the court for weather forecasting,causing the tuning system to be lost.In later times»music theorists broke through the boundary between unequal and equal temperament by pointing out errors in Jing Fang's theory which led to its greater historical significance in the field of music than in calendrical calculation.