【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， 2009， 硕士

【摘要】 《魏氏乐谱》是明末海商魏之琰将明代的一些乐曲传到日本后,由其四世孙魏皓对外传授并编辑出版的诗词乐谱,在日本有“魏氏乐”或“明乐”之称。在对此乐谱的研究方面,继日本学者林谦三的开先河之作《明乐八调研究》(1943年)之后,国内学者们也开始重视这一回归的乐谱,并对其历史传承、音乐属性、译谱、宫调分析等方面进行探讨,从而又引发了诸多悬而未决的疑点。本论文则围绕这些悬疑之处步步推理并结合实证,在适当地运用一些未被关注的史料背景的基础上,依据对乐谱本体信息的详解而解开谜团。解决了《魏氏乐谱》的音乐属性定位、所附日本和笙谱字的“比”与“工”之疑、曲前所标注调名与乐曲实际运用宫调不相符合之疑等问题。另还重新考证、更新了一些关于乐谱本身的细节信息,诸如其实际的乐曲数量、歌词所运用的音韵、外曲中准确的曲目来源等等。全文由引言、三章主体、结语和译谱四个部分组成。引言为对《魏氏乐谱》的大致介绍,包括它的版本演变与和乐谱相关联的古文本简介。主体第一章总结了迄今为止国内外学者的研究成果与争论的焦点,并根据明代学校教育的历史背景和乐谱本身所具有的内容判断其为明代学校礼乐教育的产物,又因其曲调均依附于歌词,器乐伴奏具有“倚歌而和”的特点,故其音乐随时代、地域变迁的影响有限,应仍属中国音乐而非“和化”的中国音乐。主体第二章则以谱面信息的翻译、解读为重,论述了其歌词内容、音韵、工尺谱字、器乐谱字与演奏符号等问题,并得出其谱式为固定调唱名体系的工尺谱,且基本旋律主要由d、e、~#f、~#g、a、b、~#c七个音高构成的结论。主体第三章承接上一章的结论,因其所能用的音高有限,故其所能使用的调高必然有一定程度的限制,结合每首乐曲的音阶分析和乐器瑟的谱式标记与工尺谱字音高的比对,最终证实所谓“明乐八调”非为宫调概念,实为瑟调调弦法。结语部分对解析的结果作了总结,并提出六卷本《魏氏乐谱》所具有的硬伤,以期盼能有新的史料为此谱的研究打开新的局面。最后,正文之后附有二百余首笔者译谱,囊括本曲部分歌词与现今通行版本之间的差异,以及外曲部分所引用的乐谱与原谱中的差异。更多还原

【Abstract】 "Wei’s Notation" is a kind of poetry score imparted,edited and published by Wei Hao,a posterity of businessman Wei Zhiyan who lived in telophase of Ming Dynasty and spread some works to Japan where it is nicknamed "Wei’s Music" or mingyue(Music of Ming Dynasty).In terms of it’s research,following japanese scholar Hayashi Kenzo’s Research of Ming’s Eight Tunes(1943), attention of chinese scholars is also paid to this area engendering various doubtful points. Through reasoning and demonstration and on basis of materials rarely touched,this essay buttons down such problems as:attribute of music in "Wei’s Notation",issues of "比" and "工"(The notes of sho),pitch name was not accordance with the one that really used etc.In addition,textual research,updating of some details such as its actual amount,phonoiogics,precise sourse of other works are also made in this essay.This essay includes four parts:introduction,three chapters in main part,epilogue and translated notation.Introduction is a general description of "Wei’s Notation".The first chapter in main part sums up the major research findings and debating focus and this notation is decided to be a result of Ming’s ritual and rite music according to its background and content,besides,its accompanying part has the nature of "response" for its adhering-to-lyric melody;the second chapter emphasizes the interpretation of score,making a discussions about lyric,phonoiogics,gongchi notation and performing signs,through which I concluded that its melody consists mainly by d,e,~#f,~#g,a,b,~#c; and basing itself on the results of the last chapter,the third chapter confirms that the so-called "Ming’s Eight Tunes" is not the gongdiao(pitches and modes) but the sediao(tuning of se).The epilogue points out the weak points of six-volume set of "Wei’s Score" in the hope that new historical materials will reshape this research.Finally,this text is accompanied by more than two hundred interpreted scores made by writer including some texts;differences between versions circulated today,between original notation and cited parts in other works.更多还原