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在目前收集到的文献中可见,古琴正调调弦存在一弦为宫和三弦为宫的分野,仔细分辨便可发现,除了这个分野外,还存在关于一弦为黄钟还是三弦为黄钟的问题。这两个问题分别从律和音两个范畴对正调进行区分,它们的相互作用,可以得出主要四种说法:1.一弦为黄钟宫、三弦为仲吕角;2.一弦为黄钟宫、三弦为姑洗角;3.一弦为黄钟徵、三弦为仲吕宫;4.一弦为林钟徵、三弦为黄钟宫。另外还有清代学者在严格遵照三分损益法考虑加入变律后产生;5.一弦为变黄钟、三弦为仲吕;6.一弦执始徵、三弦仲吕宫两种说法,但并不典型。
In the literature collected so far, it can be seen that there is a chord in the tuning of the guqin, which is a division of the palace and the sanxian, and can be found by careful discrimination. In addition to this division, there is still a yellow bell or a chord problem. These two problems respectively distinguish the orthographies from the two categories of law and harmony, and their interaction can draw the following four major theories: 1. The one string is Huang Zhong Gong and the three strings is Zhong Lu; 2. The one string is Huang Zhong Gong, Sanxian for the ginseng corner; 3. A string of yellow Zhong Zheng, Sanxian Zhong Lu Palace; 4. A string of Lin Zhong Zheng, Sanxian Huang Zhong Gong. In addition there are scholars in the Qing Dynasty in strict accordance with the one-third profit and loss law to consider the law after joining into; 5. A string of yellow bell, three strings for the Central Lu; 6. A string of the initial sign, But not typical.