【作者】 米永盈；

【导师】 刘凤君；

【作者基本信息】 山东大学 ， 考古学及博物馆学， 2009， 博士

【摘要】 本文以大量东周时期齐国乐器考古发现作为研究材料,以考古学与音乐学、文献学研究方法相结合,并采纳其它相关学科的治学思路,对乐器这种特殊的古代文化遗存进行研究。乐器是音乐籍以存在的物质载体,也是人类表达情感的物质媒介,因此乐器既与一般器物一样具有年代、器形方面的鲜明特征,又具有发音、奏乐的特殊效用,其形制的变化每每与古人对不同音响功能的追求有关,而对音响效果的不同要求往往又是人们审美标准转化的结果。因此本文既要从考古学角度对研究对象的外在形态、制作时间和发掘地点等进行排比,以揭示其变化规律和发展序列,同时又要对其测音结果以及与发音有关的形制特征、制作方法等进行分析,以探求其音乐性能、复原其本来面貌,还要结合文献记载深入挖掘这些乐器形制和音响背后的社会现象,以便将研究对象提高到审美文化的层面进一步理解和认识,故而文章正文分为四大部分:一、东周齐国乐器考古发现的地域分布及年代分析。按照乐器的发现地点,现有研究对象可归入鲁中、北地区和胶东半岛两大区域,鲁中、北地区又可分成临淄王都和临淄周边两个亚区,不同区域之间乐器在品种、数量方面的差别极为明显。其中,临淄王都附近的出土乐器全部是礼乐重器钟和磬,共计163件,占齐国东周乐器考古发现总数的59.7%。临淄周边地区的乐器发现也以钟、磬为主,另外还有句鑃和陶埙等,共计89件,占总数的32.6%。胶东半岛乐器种类主要是钟和钲,还有一枚磬和两件陶鼓,共计20件,占总数的7.3%。乐器的种类和数量反映出不同地区的音乐活动在规模与级别方面的差异。将各类乐器按照器型特征分别对比排序、梳理其年代、研究其各自的演变规律,结果表明迄今所见东周齐国乐器的时代上起春秋早中期、下迄战国末期。将这些乐器与同期中原乐器以及齐国故地其他族属墓葬的出土乐器相比较可知,鲁中、北地区乐器的造型、纹饰等所现地域特点并不十分鲜明,唯有钟类乐器多显质地轻薄、纹样简约,明器或半成品较多;胶东半岛出土东周齐国乐器的造型与鲁中、北地区基本一致,但钟类质地相对厚重、纹饰也与鲁中、北制品有一定区别,应该是较多保留东夷文化因素的结果。二、东周齐国乐器考古发现的分类研究。本章分析东周齐国各类乐器文物的器型和部分实用乐器的测音结果,并结合《考工记》等文献探讨与形制和测音相关的乐器制作方法问题。发现齐国东周各类钟器都有自身的器型演变规律,但它们虽然大多具备可以科学发音的形制特征,却多数是不能发音的明器。唯商王村M2钮钟形制特征突出,其铣棱微弧、鼓栾、乳状枚的腔体形状是现存东周齐国钮钟中所仅见。这套钮钟也是现存齐国东周钟类乐器里唯一确定有音乐性能的,其甲、乙两组分别可以在不同调高上构成七声音阶和在一定范围内旋宫转调。齐国东周石磬多数制作规范且组合成编,其尺寸数据虽大多与《考工记》所述不符,但究其原因应该是后期调音时打磨磬坯不同部位所致,说明东周齐国编磬在当时仍被用于音乐实践,部分编磬的测音结果表明东周齐国磬类乐器具备旋宫转调功能,在某些调性上甚至可以构成六声音阶,还能与编钟协同演奏。东周齐国句鑃和钲类乐器发现较少,但其地域特点、时代特征以及功能属性、演奏方式等都有比较明显的反映。琴、鼓、竽等乐器由于制作材料不易保存,其形制与功能只能借助现存明器甚至图像进行推测,但后者提供的珍贵形象资料验证了文献中的相关记载,也证实东周齐国已经具备了制作和使用这些乐器的物质条件。三、东周齐国乐器考古发现的特点及其文化成因。东周齐国乐器考古发现的特点表现为以下几方面:1、乐器品类以钟、磬居多,出土地主要集中在鲁中、北尤其是临淄附近。2、钟类乐器以明其居多,除几例时间较早、保留一定东夷文化因素的胶东半岛制品外,鲁中、北地区制品多数质地轻薄、纹饰简约,镈钟、甬钟情况更甚。3、磬在后期调音时打磨不同部位,说明仍具有一定的音乐实践价值。4、钟、磬多成套使用,每套数量不一、无一定规律、表现出较大的随意性。另外,当地大、中型墓葬中多见女性殉葬者。结合大量的文献记载,可以将导致上述现象的原因归纳为四点:1、贵族生前对奢侈消费的追求和对音乐的喜好以及当地盛行的厚葬风气决定了随葬乐器数量之众多。2、齐国音乐缺乏礼教精神、注重娱乐性的特点促使当地东周时期流行琴、瑟、竽等乐器,编磬虽尚存一定实用功能,但与之同为礼乐重器的编钟却已简化成了一种象征符号,齐国器乐文化充满世俗化的风格。3、随着旧式生产关系的变化和社会等级的重组,东周齐国墓葬当中的僭礼越制现象十分严重,致使钟、磬等乐器的种类、数量以及单套乐器的件数无一定规律可循,而低级贵族墓中也以镈钟随葬,反映出当时礼乐废弛的社会现状。4、齐国东周时期随葬乐器常与年轻的女性殉葬者同出,证实了文献中关于齐国“女乐”的记载。这种现象不见于同时期其他国家的墓葬中,说明齐国墓葬中随葬乐器不单为了标志墓主人的身份和财富,更是为了模仿其生前娱乐场景,希望其死后能够继续享受“女乐”及其奏乐表演。这也恰恰证实了齐国音乐的娱乐功能、俗乐性质以及齐国乐器随葬制度不遵循周礼的事实。四、东周齐国器乐文化在秦、汉时期的延展。迄今为止齐地尚未发现有秦代乐器文物,存见汉代制品也为数不多。但比较东周齐国与齐国故地汉代乐器考古发现的形制特征和音乐性能,发现二者存在较多的一致性。形制方面,临淄商王村M2钮钟与洛庄汉墓、临淄稷山汉墓钮钟共有的弧铣、鼓栾、乳状枚等特点反映出其中潜在的源流关系,临淄大武齐王墓和洛庄汉墓錞于基本一致的造型则说明两者共同受到先秦齐国乐器传统的影响。音乐性能方面,商王村M2乙组编钟、编磬能够相互配合,洛庄汉墓编钟与第4套编磬亦可相互配合,上述钟、磬所适用的宫调也基本一致:商王村M2乙组编钟适于演奏bB宫七声下徵调式或俗乐调式、bE宫七声正声调式或下徵调式,乙组编磬发出bB、bE、bA各调的骨干音;洛庄汉墓编钟适于演奏bB宫俗乐调式、bE宫下徵调式、bA宫正声调式,第4套编磬左组可演奏bA宫或bE宫旋律,右组可以演奏bB宫或bE宫旋律。而洛庄汉墓第4套编磬上的铭文又显示该磬可能出自齐地工匠之手,因此洛庄汉墓与临淄商王村M2乐器彼此之间的承袭关系十分明显。说明秦、汉之后齐国作为一个独立的行政区域虽已不复存在,但先秦齐国故地富有地方特色的音乐文化不仅未随齐国政权而泯灭,还对秦、汉乃至后世的音乐文化产生了极大的影响。更多还原

【Abstract】 Research on Musical Instruments of Qi state in East-Zhou period is based on abundance of musical archaeological findings, with the combined research methods of archaeology, musicology, philology and other related studies. Musical instruments are the substance by which music exists and by which human beings express their emotions, so musical instruments have the common characters such as era and shape like other instruments, as well as the special utility of making sounds and playing musical works. Usually, the transformations of the musical instruments were caused by the ancients’pursuing of different sound effects, and the variations of the ancients’desires towards sound effects were consequences of their varied aesthetical standard. So this thesis will compare the shapes, era and excavating sites of the musical instruments, so as to reveal their changing regularity and time sequence, the instruments’pitch datum and their external characters as well as the making methods concerning producing sound will be studied simultaneously, so as to reveal their musical functions and original appearances. To study the social phenomena under all the superficies with the assistance of documental records is also needed, for the purpose of elevating the understanding of the objects to an aesthetic level. Therefore the thesis is divided into four parts:The first, areal distribution and era of the musical instruments of Qi state in East-Zhou period. Zone all the objects to two regions, Middle and North of Shandong and Jiaodong Peninsula. Thereinto, Middle and North of Shandong can be divided into two parts, the capital city Linzi and the areas all round it. Variety and amount of the musical instruments differ distinctly between different regions. All of the musical instruments near Linzi were bells and stone qings, came to 163 pieces, accounted for 59.7 percent of the total. Most of the musical instruments in the surrounding areas of Linzi were also bells and stone qings, and some goudiaos and xun in addition, came to 89 pieces, accounted for 32.6 percent of the total. Musical instruments of Jiaodong Peninsula were bells, zheng, qing and earthenware drums, came to 20 pieces, accounted for 7.3 percent of the total. Variety and amount of the musical instruments showed the size and level of the musical activities. Range the era of each kind of musical instruments in Qi state by the observation of their shape, research their changing regularity, we see that their manufacturing era from Spring and Autumn Period till Warring States Period. Compare the musical instruments with those found in tombs of other cultures, we see that musical instruments of Qi state in East-Zhou period especially those of Middle and North of Shandong had no distinct regional characters in shape and patterning. Only the bells showed their thin texture and simple decorative patterns, as well as their essence of substitutions or semi-manufactured goods. Products of Jiaodong Peninsula were similar in shape to those of Middle and North of Shandong, but the Jiaodong bells were thicker than the latter, their designs and patterns were also different, for their carrying of the traditions of the Yi culture.The second, classification of the musical instruments of Qi state in East-Zhou period . Analyse the shapes of all the musical instruments and the pitch datum of some instruments which have true musical utility. And then, to combine the result with the records of document Kaogongji, to discuss the making methods concerning the shapes and the pitch datum. We can see that bells of Qi state in East-Zhou period all had their own changing principle and the appearance seemed to pronounce-pronunciation, but most of them were substitutions. The only bells that had distinct characters and practical values were the Shangwang M2 bells, they could be divided into two groups each could be used in different tonalities to form musical scales with seven tones. Most stone qings of Qi state in East-Zhou period were made to the regular shape and often assembled together. Their sizes did not conform to the records of Kaogongji, maybe for the burnishing on the different parts of the semi-manufactured stones. Some of their pitch datum show that stone qings of Qi state in East-Zhou period had the function of playing music in different tonalities, in some tonalities they could even form musical scales with six tones, and could be used in company with the bells. Few goudiaos and zheng were found, but their regional characters, their signs of the era, their function as well as the way they were performed at were all obviously. Musical instruments such as qin, drum, yu, were made by materials that easy to rot, now their shapes and functions can be speculated only from some models and images, which validate the documental records and make sure that the Qi state had the conditions to make and use those kind of musical instruments at that time.The third, reasons which caused to the characters of the musical archaeological findings of Qi state in East-Zhou period. The characters of the musical archaeological findings of Qi state in East-Zhou period displayed as such aspects: 1. The categories were bells and stone qings, and most of the unearthing locations were Middle and North of Shandong especially near Linzi city. 2. Most bells were substitutions. Those from Middle and North of Shandong were of thin texture and simple decorative patterns, particularly Bo and Yong bells. 3. The stones qings were burnished at different parts, showing their practical values. 4. Bells and stone qings were used as whole sets, every set had different amount, showed no regular patterns and a random state. Otherwise, skeletons killed to accompany the nobles were often found in the big or middle tombs. We can reduce the reasons for the characters of the musical archaeological findings of Qi state in East-Zhou period to four points by connecting the above phenomena with the documental records: 1.Nobles’extravagance in daily life, on music and in their funerals; 2.More emphasizing on the fun of the music than on their ceremonial meaning; 3.Disrespect to the social institutions for the reason of reformation and recombinant of classes; 4.Female players who verified the amusing function and secular character of the musical instruments of Qi state and its disobedience of the ceremony.The fourth, influence on the musical instruments in Qin and Han dynasties by those of Qi state in East-Zhou period. By now we know no musical archaeological findings that made in Qin dynasty, and few made in Han dynasty. But by comparing the musical instruments of Qi state in East-Zhou period with those in Han Dynasty of the same area, we can find many similarities among the Shangwang M2 bells, the Luozhuang and the Jishan Han Dynasty Tomb bells. Also there are some similarities between the Dawu and the Luozhuang Han Dynasty Tomb Chunyu. Both Shangwang M2 and Luozhuang Han Dynasty Tomb bells could be used together with the stone qings in their same tombs, all the musical instruments were of the similar tonalities. Shangwang M2 bells fitted the musical modes of Xiazhi or Suyue when Do=bB and the musical modes of Zhengsheng or Xiazhi when Do=bE. Shangwang M2 qings gave the main tones of bB、bE、bA tonalities, Luozhuang Han Dynasty Tomb bells fitted the musical modes of Suyue when Do=bB, Xiazhi when Do=bE and Zhengsheng when Do=bA. The fourth-left set of the Luozhuang Han Dynasty Tomb stone qings could perform melodies when Do=bA or bE, while the fourth-right set bB or bE. What is more, the words engraved on the qings’ surface in Luozhuang Han Dynasty Tomb showed that they were made by workers that in the Qi area. All the facts show the close relation between the musical instruments of Qi state in East-Zhou period and of Qi area in Han Dynasty, music of Qi state in PreQin Period had great influence on those of the aftertime.更多还原