《棠湖埙谱》所记载埙胴音考

Textual Research on Xun Tones Recorded in Xun Score of Tanghu

清代吴浔源所著《棠湖埙谱》记载了“黄钟埙”和“大吕埙”的底孔音高分别为工尺字的“合”和“五”,以及其尺寸和孔位。当今埙的定调是根据全按之后的胴音,然而在不同技法的吹奏下,全按音可能存在不同的音高,这为古埙的定调增加了不确定性。《棠湖埙谱》所记载埙形制与殷商时期的“前三后二”的五音孔梨形埙具有极高的相似性,并且二者都在演奏中充分运用旋相还宫的技法以实现调式的转换。根据目前出土的五孔“殷商埙”音高范围,《棠湖埙谱》附谱调式,以及“旋相还宫”技法,可推断出《棠湖埙谱》所记载的黄钟埙为#F调埙,大吕埙为#G调埙,应钟埙为F调,夹钟埙为A调。

In Qing Dynasty,Mr.Wu Xunyuan wrote Xun Score of Tanghu,which recorded that the pitches of the bottom holes of the“Huangzhong xun”and“Dalüxun”were respectively“He”and“Wu”in Chinese Gongche characters,as well as their sizes and hole positions.Today,the pitches of xuns are based on the tone after the full press.However,under different techniques of playing,the tone of full press may have different pitches,which adds uncertainty to the tuning of ancient xuns.The xun forms which were recorded in Xun Score of Tanghu is similar to the pear-shaped xun with five-tone holes in the Yinshang period,and both of them fully use the technique of modulation to Gong to achieve the key conversion.According to the pitch range of current excavated“Yinshang xun”,the melo-dies documented in the Xun Score of Tanghu,and the principles of tonal modulation,the following pitch assignments can be inferred for each xun:the Huangzhong xun corresponds to the key of#F,the Dalüxun to#G,the Yingzhong xun to F,and the Jiazhong xun to A.