摘要
重新认识甘美兰的斯连德若音阶（上）应有勤欧洲人对非欧洲音阶的研究首先是从音响心理学开始的。１８７５年，埃利斯（Ｊ．Ａ．Ｅｌｉｓ，１８１４—１８９０）把德国生理学家、物理学家赫尔姆霍茨（Ｈｅｌｍｈｏｌｔｚ，１８２１－１８９４）《论音的感觉》翻译成英文，...
The paperoutlines Western scholar’ cognitive process of interval consonance,and analyses the theory of national equal temperament and Hornbostel's Blasquintentheorie from the perspactive of acoustic psychology. The simple radio like 7/6 and 8/7 is regarded as an intrinsic quality of the slendro scale in Indonesian gamelan music.Through the statistics of a large number of slendro scale measured by western ethnomusicologyists and a comparison with the average devations in national equal temperament and Hornbostel’s theory,this writer draws the following conclusions: The interval models consisting of 7/6,8/7 and 9/8 are much closer to the practically measured slendro temperament than the national equal temperament and the Blasquintentheorie,and the concerdant in dexes of 7/6 and 8/7 intervals are respactively 27.54dB and 25.04dB. Thus a new point of view is put forward: While any applied temperament fluctuates to some extent,the harmonic series on some harmonic instruments,e.g.the world wide jew's harp,mouth bows,nose flutes and long horns,are fixed and remain unchanged.They are diractly chosen as scales and should be regarded as sort of temperament.As Slendro scale's physical ground the harmonic series have influenced the aural psychologies of many nations.Probably,quite a few national tone systems outside the three commonest Western temperaments are formed in this way.
出处
《中国音乐学》
CSSCI
北大核心
1997年第2期4-17,共14页
Musicology in China
