《頖宫礼乐全书》所载歌谱曲线符号与曲线谱

Song Score from Pangong Liyue Quanshu

成书于清顺治年间的《頖宫礼乐全书》是地方提学官半自发性质编撰的礼乐专著,以释奠乐为主要内容。该书所载歌谱是将传统形而上的《礼记·乐记》“上如抗”歌唱理论(简称《乐记》“歌论”)以符号化的曲线谱形式落实于祭孔雅乐曲谱实践中,继承并发展了朱载、李之藻的歌法图谱实践(“格图”),该谱的动态特质在目前可见的吉礼祭祀乐谱中是罕见的,其所载歌谱所用曲线符号为《乐记》“歌论”声法“减字”版的可能性较大,呈现雅乐“一字多声”样态。

The Pangong Liyue Quanshu,authored during the Shunzhi era of the Qing Dynasty,stands as a semi-formal treatise on rites and music compiled by educational authorities of the time.Its principal focus lies on the'Shidian Ritual music.The text documents traditional song scores following the metaphysical'Song Theory'from Yue Ji,embodied through symbolic curve notations.These notations were implemented in the musical rendition of Confucian rituals,thereby continuing and expanding upon the pictographic scoring methods('Ge Tu')established by predecessors such as Zhu Zaiyu and Li Zhizao.The dynamic nature of these scores is particularly notable within the auspicious ceremonial music currently observable,with the curve symbols suggesting a'condensed character'interpretation of Yue Ji's'Song Theory'.This interpretation illustrates the multifaceted sonic representation of Ya music,where a single character can denote multiple sounds.