敦煌舞谱的乐拍与舞拍

Musical Beats and Dance Beats in Dunhuang Dance Scores

法藏P.3501敦煌舞谱中的《南乡子》中存在一处极为突然的二重文本,为迥异的笔迹对同一段舞蹈提示进行的反复书写。细审其差异,在于两种文字中的“一拍”之别,但由于其中涉及“拍”这一重要音乐概念,学者们对它的解读至今未能达成共识。基于上海音乐学院“中日音乐文化研究中心”的古谱研究团队在P.3719敦煌乐谱研究基础上提出的“拍子型”概念,可以看出敦煌舞谱同时存在乐拍与舞拍两种拍子类型,而结合英藏S.5643敦煌舞谱的材料比对,可对P.3501《南乡子》的“讹拼之文”重新进行解读。文章由此指出敦煌舞谱中舞拍之于乐拍的独立及其引导动作的功能,而乐拍、舞拍概念的混合则是导致这种古代舞蹈记谱法消失的历史原因。

There is a striking instance of dual text in the Dunhuang dance score Nanxiangzi of the French collection P.3501,where two distinct handwritings repeat the same dance cues.Upon closer examination of the discrepancies,the difference lies in the description of “one beat”.However,since it involves the crucial musical concept of “beat”,scholars have not yet reached a consensus on its interpretation.Based on the concept of “beat type” put forward by the ancient score research team at the Sino-Japanese Music Culture Research Centre of Shanghai Conservatory of Music on the basis of P.3719 Dunhuang music scores,it can be observed that the Dunhuang dance scores contain both musical and dance beat types.A comparative analysis with the British collection's S.5643 Dunhuang dance score allows for a reinterpretation of the “erroneous transcription” in P.3501 Nangxiangzi.This highlights the independence of dance beats from musical beats in Dunhuang dance scores and their role in guiding movements.The fusion of these concepts leads to the historical disappearance of this ancient dance notation method.