《敦煌乐谱》有、无标题曲的旋律关系研究

A Comparative Study of Melodies in Titled and Untitled Songs in the Dunhuang Music Score

《敦煌乐谱》(P.3808)是唐五代时期丝绸之路上遗存的重要谱本。自1938年林谦三、平出久雄发表《琵琶古谱之研究——〈天平〉〈敦煌〉二谱试解》一文,逐步掀起中外学者研究之热潮,使该谱在音高、音长等方面研究有了突破性进展,为学界了解该时期音乐面貌提供重要参考依据。文章在前人已有研究成果基础上,选取陈应时译解版本,并借鉴李吉提等学者针对不同地域存在“同源曲”现象提出的“线性分析”思路与方法,通过对比分析《敦煌乐谱》同组内“有标题曲”与其后接“无标题曲”旋律形态,探讨两类乐曲旋律关系及其旋律发展手法,以此检验既往学界相关研究结论之正误。

The Dunhuang Music Score(P.3808)is an important score surviving on the Silk Road from the Five Dynasties period and the Tang Dynasty.Since Hayashi Kenzōand Hiraide Hisao's 1938 comparative study of Dunhuang and Tenpyo pipa music scores,research on the Dunhuang Music Score has attracted substantial international and domestic attention.Breakthroughs in pitch and duration of the notation have advanced our understanding of the score and its historical context.Based on previous research findings,this study examines the melodic relationships between titled and untitled compositions in the Dunhuang Music Score,using Chen Yingshi's translated version as an example.Inspired by the analytical ideas and methods provided by scholars such as Li Jiti's analysis of the“homologous compositions”across different regions,this article compares and contrasts melodies within the same composition group to explore melodic development patterns,aiming to evaluate the validity of the previous relevant research.