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通过对我国的陶埙进行测音并整理列出音列发现,在远古时期,人们并不是只有晚商以及西周音列中的稳定四声,除此他们还对自然的乐音进行灵活的选择,组成了非常丰富的音列。这和当时人们认识的水平、社会层面、制作以及材料都是密切相关的。在音乐的发展过程中,陶埙的制作以及音阶的发展都是感性经验的结果,是以实践作为基础的。音阶多声化以及音列多样化给后世的音列设置提供了宝贵经验以及选择的余地,其中以周代的钟乐音最为明显。从钟磬的乐音当中能够感受到当时人民从早期感性创作中得出来的规律。本文将主要以陶埙为视角来看夏商五声音阶的形成过程。
By measuring and sorting out Tao Xing in our country, we found out that in ancient times, people did not only have four stable voices in late merchants and the Western Zhou Dynasty. Besides, they also made flexible choices for natural musical sounds, Formed a very rich tone. This was closely related to the level of people’s understanding, social level, production and materials at that time. In the process of music development, the making of Tao Tao and the development of scale are the result of perceptual experience and are based on practice. Multiples of scales and diversification of tunes provide valuable experience and options for future generations of tunes, most notably the chimes of the Zhou Dynasty. From the music of Zhong Kui, we can feel the law that the people derived from the early sensual writing. This article will mainly take Xiaotao Tao as a point of view to discuss the formation process of Xia Shangwu’s sound scales.