【作者】 漆明镜；

【导师】 陈应时；

【作者基本信息】 上海音乐学院 ， 音乐学， 2012， 博士

【摘要】 在清商乐的研究领域中,目前尚未见到过一部从音乐的角度专论清商乐的著作。从涉足此领域研究的各种著作、期刊文献、工具书中,可知目前学者们对于清商乐的研究主要集中在清商乐的历史源流、清商乐的音乐结构、清商乐的音乐性质、三调(平、清、瑟)的内涵四方面,但其中较多观点未能统一。虽然有些疑问有了合理的解释,但更多的疑问仍待进一步研究核实。本论文则将重新分析史料,考析清商乐之源流、性质以辨明其在中国古代音乐史中的地位。在梳理其历史脉络后,再辨明平、清、瑟三调之归属、实质,以呈现其在中国音乐史中的发展变化,并与今日民间音乐中所常用的宫调相比较,明确古与今的联系。全文由绪论、引言、三个章节和结语四部分组成。绪论部分涉及了本文研究的范围与论题意义、清商乐的研究现状与存在的问题、论文的研究思路三个方面。引言为问题的提出,并将与清商乐相关的一些体裁、乐种、宫调概念、音乐机构等信息作为关键词列出。第一章首先总结迄今为止古今中外的学者对其源流的不同观点,再通过对史料的分析,排除清商乐源于相和歌和房中乐的主流观点,并认为清商乐可追溯的最早历史为曹魏时期,可以先后分为魏晋清商三调歌和隋唐清乐两个历史时期。隋代方始设清商署。第二章对清商乐的音乐内涵进行分析,囊括其音乐结构和音乐性质。在音乐结构方面,以清商三调歌为主要分析对象,梳理弄、部弦、歌弦、解、送的含义,并将其与大曲做了体裁上的区别。在音乐性质方面,认为其在清商三调歌时期为“正声宴乐”,隋唐清乐时期为“俗乐宴乐”。第三章为全文的核心章节,考察了平调、清调、瑟调的内涵实质。根据对国内外现存史料、乐谱的分析、考证,得出三调即三种调高的结论,即平调为林钟均；清调为太簇均；瑟调为黄钟均。三调若与笛上三调的调高相对应,则平调应林钟笛正声调法；清调应林钟笛下徵调法；瑟调应林钟笛清角之调。三调后被唐宋燕乐二十八调和古琴的定弦法所吸收,这种“黄钟—林钟—太簇”的调高关系至今仍能在传统音乐的常用三调中见到。更多还原

【Abstract】 There is, by now, no writings about Qingshang music from the angle of music has published. From various works, periodical literatures and reference books, we can infer that the research in this regard mainly concentrated in four aspects:historical origin, music structure, music nature as well as connotation of Ping, Qing and Se tunes. As for the existing questions, some have been explained reasonably, while more others are to be further studied and verified.To understand the historical significance of Qingshang music, this doctoral dissertation re-analyzes the historical materials as well as its source and course. This provides a basis for the clarification of the headstream and substance of Ping, Qing and Se tunes, so that we could make clear the relationship between them and the tunes used commonly at the present through comparison.This dissertation includes four parts:preface,introduction, chapters and epilogue. The topic is put forward in the first part and listed as a keyword together with some forms, music genres, modes of ancient Chinese music as well as music organizations. Summing up different opinions of scholars at all times and in all lands, and analyzing the historical materials, the author suggests in the first chapter that Qingshang music could trace back to Cao and Wei period dividing into two historic stages:Qingshang three-tone song and Suitang Qing music. It is in Sui Dynasty that Qingshang Bureau was established excluding the main viewpoint that Qingshang music comes from Xianghe song and Fangzhong music. The connotation of Qingshang music, together with its music structure and music nature, is analyzed in the second chapter. In terms of music structure, this dissertation, taking Qingshang three-tone song as the main object of analysis, not only interprets the meanings of Nong, Buxian, Gexian, Jie and Song, but also compare the different style between it and Daqu. Taken as conviviality in all times in terms of music nature, Qingshang music was "Zhengsheng feast music" in period of Qingshang three-tone song and "folk feast music" in ages of Sui Tang Qing music. As a core section, the third chapter investigates the essence and connotation of Ping, Qing and Se tunes. Through the analysis and research of the historical materials and music scores, we know that the so-called three-tune is in fact three kinds of tunes:Ping is Lin Zhong pitch Qing Tai Cu pitch and Se Huang Zhong pitch. Correspond to the three tunes in Dizi, Ping is Zhengsheng tune, Qing is Xiazhi tune and Se is Qingjiao tune. Absorbed by twenty-eight tunes of Yan music in Tang&Song dynasty and tuning method of Guqin, the tune relationship of Huangzhong-Linzhong-Taicu still exists in the familiar three tunes in traditional Chinese music up to now.更多还原