【作者】 翁攀峰；

【导师】 胡化凯；

【作者基本信息】 中国科学技术大学 ， 科学技术史， 2014， 博士

【摘要】 清代律学是我国古代声学的重要组成部分,是科学史的重要研究对象。本文讨论了清代律学中的“康熙十四律”的合理性及其源流,清代学者对朱载堉新法密律的认识与评价,以及清代的连比例生律法三个问题,主要包括以下几部分内容：第一,分析了“康熙十四通”的律制结构和生律方法,在此基础上,采用现代声学理论证明了“康熙十四律”同径管的黄钟正律与太簇半律相合的观点是错误的,其同形管也不能与同径管实现声音上的相应。第二,通过对比分析“康熙十四律”与传教士所著《律吕节要》一书中的相关内容,发现“十四律”的思想源于《律吕节要》,该律制是结合了中西乐律理论的创新产物。第三,通过对《律吕正义》记载的几种乐器型制的分析,发现这些乐器是严格按照“康熙十四律”的律制结构、相合观以及同形管的要求制作的。第四,通过对乾隆朝批判朱载堉新法密率文献的分析,发现乾隆朝御用学者对新法密率的评价,并非纯粹的学术观点争鸣,而是皇权主导下的律学思想批判。乾隆的圣谕以及“康熙十四律”的权威直接影响了学者们的学术取向。第五,根据江永的三部律学著作,系统梳理了他从最初排斥新法密率与三分损益并创立“今律”,到放弃“今律”转而接受新法密率的过程,分析了他能接受新法密率的原因：一是从江永极为重视的返宫标准上看,新法密率比“今律”更加完善；二是在接触新法密率之前,他就十分推崇河洛之学与方圆相函理论在律吕研究中的基础性作用。第六,通过对比安清翘的连比例律与朱载靖新法密率,发现安清翘的连比例算律思想源于朱载堉新法密率,但二人的计算思路不同。安清翘较朱载堉的进步之处在于提出了律长虚率的概念,认为黄钟长度不限于朱载堉提出的长十寸、五寸或二十寸,对于任何长度的黄钟,只要各律长满足十二率连比例关系就能相合。这反映了安清翘对十二平均律之“平均”的认识较朱载堉更进一步。第七,通过对戴煦所著《音分古义》一书的分析,发现他的连比例算律思想源于传统的三分损益法。他根据“康熙十四律”,对黄钟与半太簇之间的各律吕长度进行了等比处理,但这并没有达到实用意义上的各音之差相同。此外,戴煦以十五则迩言作为连比例算律的理论根据,当计算中出现与迩言不符的情况时,他会根据迩言对律吕长度进行调整。这种论证方式很有可能源自西方的公理化方法。第八,根据载武所著的四部律学著作,对他在否定中西音乐理论的基础上,如何利用西方数学的计算方法算得七平均律进行了分析和讨论。此外,本文采用现代声学理论对载武的管弦音进行理论频率计算,发现他在弦音上实现了七平均律,而对于管音,由于受到“康熙十四律”的影响,以及对律管发音认识的不足,并没有实现平均。更多还原

【Abstract】 Temperament in the Qing Dynasty an important part of China’s ancient acoustics, it is also a key field of the history of science. This dissertation analyzed in the rationality, source and influence of Kangxi Fourteen Temperament, understanding and evaluation of the Qing Dynasty scholars on Zhu Zaiyu’s equal temperament, proportional algorithm on temperament of Qing Dynasty scholars. A brief introduction to this dissertation is as follows:Firstly, a systematic examination was conducted on structure and laws of temperaments producing of Kangxi Fourteen Temperament, it is proved that the half of Taicu was the octave of Huangzhong of Kangxi Fourteen Temperament’s pipes which had same diameters is wrong by modern acoustics theory, besides, the pipes which had different diameters could not reach the requirement that their sound was octave or the same with their corresponding pipes which had same diameters.Secondly, by comparing Kangxi Fourteen Temperament with LuLuJieYao, a book introduced the western music theory which was written by the missionary, the dissertation provides a new explanation that Kangxi Fourteen Temperament is not a result of the traditional temperament theory but origined from LuLuJieYao.Thirdly, by conducting a systematic analysis of musical instrumensts recorded in LuLiizhengyi, this dissertation finds these instrumensts were strictly followed the viewpoint of Kangxi Fourteen Temperament.Forthly, based on the analysis and study the the original literatures which were written to evaluate Zhu’s equal temperament by the scholars of Qianlong Dynasty. The dissertation elucidates the evaluation on Zhu’S equal temperament was a criticism under imperial power instead of purely academic contending. The will of Qian Long and Kangxi Fourteen Temperament directly impacted on the academic orientation of those scholars.Fifthly, based on three musical works of JiangYong, the dissertation makes analysis and discussion of the process which from he didn’t agree with both Zhu’s equal temperament and SanFenSunYi to accept Zhu’s equal temperament, besides,the reason why he could accept Zhu’s equal temperament is also disscussed in this dissertation.Sixthly, by comparing An Qingqiao’s temperament with Zhu’s equal temperament, the dissertation finds that An Qingqiao’s temperament originated from Zhu, while they have different calculation process. An Qingqiao’s progress on temperament lied in making XuLu which means the length of LuLu can be any size instead of certainty. As long as the lengths of LuLu conform to the geometric proportion, An Qingqiao believeed they can be harmonious tones.Seventhly, by analysis on YinFenGuYi, which was written by Dai Xu who was a famous scholar on math, the dissertation finds his thought of proportional algorithm on temperament originated from traditional SanFenSunYi. According to Kangxi Fourteen Temperament, he calculated the length through Huangzhong to Half TaiCu by geometric calculation, which did not reach the practical sense of same pitch.Eighthly, based on Zaiwu’s works, the dissertation makes analysis and discussion of the academic source of his seven-tone equal temperament, presents the calculating process using some western mathematical methods he first introduced to the temperament research area. Besides, this dissertation verifys the correctness of the seven-tone equal temperament calculation results on both pipe and string, which concludes that the temperament on string is completely equal,but the pipe sound can not achieve this effect. It indicates that the Zaiwu’s seven-tone equal temperament was only a pure theoretical construction without any experimental testing or modification.更多还原