近代以来的“燕乐音阶”观念

发布时间：2018-06-02 19:44

本文选题：近代以来 + “燕乐音阶”　；参考：《河南大学》2011年硕士论文

【摘要】：本文将“燕乐音阶”观念作为对象,以观念史的视角,对近代以来“燕乐音阶”观念的形成发展进行研究,选取这一历史过程中五位代表性学者的理论观点加以梳理,以求对其来龙去脉有一个清晰明确的把握。全文除去绪论、结语部分,共分四章: 第一章,梳理王光祈的“燕调”理论。20世纪30年代,王光祈根据《宋史》记载提出了“燕调”理论。他将蔡元定所述燕乐调中的“变”、“闰”释为清角和清羽,将燕调七声看成是一个含有纯四级、小七级的音列。后世一些学者依照王光祈的做法,将蔡元定所述燕乐调作为“燕乐音阶”存在的史料依据,由此而形成了“燕乐音阶”观念。第二章,梳理杨荫浏的“清商音阶”观念。20世纪40至50年代,杨荫浏接受王光祈“变”、“闰”的解释,与汉代以来的相和调、清商调相联系,将古代俗乐所用的音阶正式取名为“清商音阶”,后又称作“清商调音阶”,并将这种音阶观念在其音乐史的著述中贯穿运用。第三章,梳理冯文慈、夏野的“燕乐音阶”说。20世纪50年代末,黎英海正式确立了“燕乐音阶”的名称;60年代初,李重光将包括“燕乐音阶”在内的三种音阶写入乐理教材。80年代,冯文慈将传统音乐中所用音阶与某些历史记载相联系,提出“变体燕乐音阶”的说法;夏野最初认为相和调中侧调的音阶即是“燕乐音阶”,后来又将“燕乐音阶”与龟兹琵琶相联系,认为它来源于苏祗婆的龟兹琵琶调。“燕乐音阶”观念经冯、夏二位先生的研究,又有了新的发展。第四章,梳理黄翔鹏的“清商(俗乐)音阶”观念。20世纪80年代,黄翔鹏将三种七声音阶进行体系化的概括,提出“同均三宫”理论,对“燕乐音阶”观念作出了进一步的阐释。黄翔鹏的观念对学界影响很大,近二十年来的一些工具书、乐理教材、理论著述以及音乐文论中大都采纳了这一观念。通过本文的研究,将有助于对“燕乐音阶”本质的认知,并进一步为三种音阶观念的研究、深入论证解决“同均三宫”问题,奠定一个必要的基础。
[Abstract]:This paper takes the concept of "Yanle scale" as the object, studies the formation and development of the concept of "Yanle scale" from the perspective of the history of concept, and selects the theoretical views of five representative scholars in this historical process to sort out. In order to have a clear and clear understanding of its background. Apart from the introduction and conclusion, the full text is divided into four chapters: Chapter one, combing Wang Guangqi's "Yan tune" theory. In 1930's, Wang Guangqi put forward "Yan tune" theory according to the history of Song Dynasty. He interpreted the "change" and "leap" in the Yan tune described by Cai Yuanding as a clear angle and a clear feather, and regarded the seven tones of the Yan tune as a series containing pure grade four and small seven levels. According to the practice of Wang Guangqi, some scholars of later generations regarded the Yan music tune mentioned by Cai Yuanding as the historical basis for the existence of "Yan music scale", thus forming the concept of "Yan music scale". The second chapter, combing Yang Ying-liu 's concept of "Qing Shang scale". In the 1940s and 1950s, Yang Ying-liu accepted the explanation of Wang Guangqi's "change" and "leap", which was related to the phase and tone since the Han Dynasty and the tone of Qing Dynasty. The scale used in ancient folk music was formally named "Qing Shang scale" and later called "Qing Shang tone scale", and the concept of scale was applied throughout his works in music history. Chapter three, combing Feng Wenci, Xia Ye's "Yan Yue scale" theory. At the end of 1950s, Li Yinghai formally established the name of "Yan Music scale" in the early 1960s. Li Chongguang wrote three kinds of scales, including "Yan Yue scale", into the musical theory textbook. In the 1980s, Feng Wenci linked the scales used in traditional music to some historical records, and put forward the term "variant Yan music scale". Xia Ye initially thought that the scale of phase and middle tone was "Yan music scale", but later linked "Yan music scale" with Qiuci pipa, and thought that it originated from Su Zhi-po 's Qiuzi pipa tune. The concept of "Yan Yue scale" has made a new development through the research of Feng and Xia. Chapter four, combing Huang Xiangpeng's concept of "Qing Shang (Folk Music) scale". In the 1980s, Huang Xiangpeng summarized three kinds of seven sound scales systemically, and put forward the theory of "homogeneity and Sangong". The concept of "Yan Yue scale" is further explained. Huang Xiangpeng's ideas have a great influence on the academic circles. In the past twenty years, some reference books, musical teaching materials, theoretical writings and musical literary theories have mostly adopted this concept. The research in this paper will be helpful to the cognition of the essence of "Yan Le scale", and will lay a necessary foundation for the further study of three kinds of scale concepts, the in-depth demonstration and solution of the problem of "homogenous three house".
【学位授予单位】：河南大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J609.2

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