- 期刊
古代琴絃音高的探索：明代禮樂制度的案例
The Standard Pitch of Ancient Silk-Stringed Qin: The Case of the Ritual Music of Ming Dynasty
摘要
古琴所謂的「標準音」，指古琴最低音絃音高調為C2的標準定音。此乃根據二十世紀前半北京、上海一帶琴人調絃的普遍習慣，再參酌西方樂理後定出，顯示當時的絲絃有能力調到標準音的音高。然而現今慣彈絲絃的琴友間常有「絲絃不必調到標準音」的說法，實際彈琴時往往調得比標準音低。主要原因可能是現在的製絃技術不如早期，若調到標準音則絃易斷，連帶也影響今天琴樂的聲響美感偏好。因此整體調絃的習慣，可以反映出美學傾向以及工藝技術。本文企圖從古籍史料推測古代絲絃琴的音高能力，採取的研究方法，是根據黃鐘律的制定以及宮廷禮樂當中琴與其他樂器的合奏，來推測琴絃的實際音高。本文以朱載堉《律呂精義》、李之藻《頖宮禮樂疏》、黃佐《南廱志》、陳鎬《闕里誌》及史記事《大成禮樂集》等明代文獻為主要依據，判斷出古代雅樂琴的絲絃調音音高，其定音約相等或略高於現在所謂之「標準音」。
並列摘要
Traditionally, the Chinese zither qin is not tuned to absolute pitches. In the modern practice, its lowest string is usually tuned to C2, the so called ＂standard pitch,＂ which is taken up in the mid-twentieth century according to the common practice of players in Beijing and Shanghai. Since there were only silk strings at that time, they were able to be tuned based on the standard pitch. However, players accustomed to silk strings nowadays usually tune them lower than the standard pitch, due not only to the aesthetic purpose but also the inferior quality of modern silk strings. The present article aims to estimate the tuning of ancient silk-string qin, taking the ritual music of Ming dynasty as the object of study. In ritual music, qin is played with other instruments and all should be tuned according to huangzhong (yellow bell), the standard pitch used in ritual music. Therefore, the tuning of silk-string qin of that time could be deduced according to the frequency of huangzhong. After examining the ancient documents concerning the system of ritual music including Zhu Zaiyu's Lulu Jingyi, Li Zhizao's Pangong Liyue Shu, Huang Zuo's Nanyong Zhi, Chen Gao's Queli Zhi and Shi Jishi's Dacheng Liyue Ji, this article deduces that the tuning of qin in the ritual music of Ming dynasty was approximately equal to or higher than the modern standard pitch.