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一个多世纪以来,世界民族音乐学家们无论是用基于西方观念的律学理论进行演绎还是通过各种测音实践进行归纳,都没有能对甘美兰音乐斯连德若音阶的构成形成一个音律理论共识。本文通过对甘美兰乐队中的吹管乐器苏灵笛制作过程中音孔开孔距离比例的实际调研和分析,探索斯连德若音阶结构背后隐藏的声学和律学规律。同时,在此基础之上提出一种以谐音列第七分音为核心生律音程的“七度律”理论来解释在音乐实践中广为存在、理论上众说纷纭的包括斯连德若音阶在内的东方音乐律制的物理基础,并对霍恩博斯特的“超吹五度循环”和亥姆霍兹的“五平均律”理论进行重要修正。
For more than a century, no matter whether the ethno-musicians deduced from the theory of law based on Western concepts or through various sound-measuring practices, they failed to form a temperament for the composition Theoretical consensus. In this paper, through the actual investigation and analysis of the proportion of the hole-opening distance of the sound hole in the production of the wind-blowing instrument in the Gansu-Lan band, the acoustic and law-of-law rules hidden behind the Siliander scale structure are explored. At the same time, on the basis of this, we put forward a theory of “seven degrees law” which takes the seventh note of the homophonic sequence as the core of the life law to explain the widespread existence in music practice. Scale, including the physical basis of the oriental musical system, and an important revision of Hornbosch’s theory of “super-blowing five degrees” and Helmholtz’s “five-mean law”.