近古时期七弦琴正调调弦法历史沿革初探.pdfVIP

中文摘要 七弦琴正调调弦是琴乐实践的重要环节，本文整理了宋代至民国时期涉及正 调调弦法的文献，并运用赵宋光琴律研究的理论方法对文献进行分析。七弦琴正 调调弦法的定弦，可能经历了由“一弦为宫”至“三弦为宫”的转变，在律制方 面调弦法经历了从纯律到三分三倍律的演变。笔者认为虽然三分三倍律的调弦法 从明代开始占据主导地位，但是纯律调弦法并没有在琴乐实践中消失，它仍存在 于琴家“上弦法”的实践中。今人实践中所使用的泛音调弦法在明代琴谱中开始 出现，但是在当时仅作为散按音调弦的辅助步骤。 【关键词】： 七弦琴 正调调弦法 上弦法 三分三倍律 纯律 相对波长 1 Abstract Tuning the strings of the positive tone is an important part in the seven-stringed zither’s practice. The paper sorts the literature of the method of tuning the strings of the positive tone from Song dynasty to the Republic of China ，and analyses the literature based on the theory about Qin temperament studied by Zhao Songguang. In the tuning of the positive tone , the position of the Gong tone might have gone through the transition from the third string to the fifth .And in the temperament, the method of tuning the strings has experienced evolution from the just intonation to the 3-limitrational system .Though the tuning of the 3-limitrational system was predominant in the Ming dynasty , the author believes that the tuning of the just intonation has not been disappeared in the practice of Qin, and it still exists in the application of the method of stringed setup of the performers. The tuning the strings of harmonious notes is appeared in the Qin tablature of the Ming dynasty ,but it served as the subsidiary steps for the tuning the strings of scattered and concentrated notes at that time. Key Words: seven-stringed zither ; tuning the strings of the positive tone ; the method of stringed setup ; 3-limitrational system ; just intonation ; relative wavelength.