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梁代在重造了相和《宫引》、《角引》之后,没有恢复“相和六引”的古貌,而是形成了奇特的“相和五引”。这一现象是由梁代将其专用于元会仪并对后者进行改革而形成的。梁代将元会仪确认君主权威的方式由人事关系的仪式化改革为拟则天道,进而以五声十二律与天道时序相对应的传统观念重新构建了元会仪。“相和五引”即是这一构建的产物。“相和五引”的形成,既是“相和引”音乐地位上升的结果,也是礼、乐关系变化的结果。
Instead of recovering the ancient appearance of “Xiang and Six Yin”, Liang Zai formed a peculiar “Xiang and Wu Yin” after reconstructing the “Gu Yin” and “Guanyin”. This phenomenon was formed by Liang Dai on his appointment to the Yuen Hui Yi and reforming the latter. Liang will be the party will confirm the style of monarch authority from the ritualization of personnel relations to be the rule of the day, and then to the five consonants and the law of heaven and the trough of the traditional concepts corresponding to reconstruct the instrument. “Phase and five lead” is the product of this construction. The formation of “Xiang He Wu Yin Yin” is not only the result of the rise of music status and the change of the relationship between ceremony and music.