Musical Scales of Various Nations
Musical Scales of Various Nations
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各国音阶
作者：
Shih
昨天在艺术协会，F爵士。阿贝尔，C. B.，法国皇家学会，理事会主席，亚历山大·J·埃利斯先生，F.R.S.，我读了一篇关于《各国的音阶》的论文，通过在他的二键琴（一种双和弦，经过修正以给出真正的音程）上演奏音阶和五架英国小提琴来说明，拉舍纳尔先生特别调音，这也使他能够在一些音阶上演奏，以及通过拉贾·拉姆·辛格先生借给他的各种天然乐器。J. Hipkins和Mons。代表的国家主要是古希腊，阿拉伯，印度，爪哇，中国和日本，迅速扫视下属的地方。与他以前的论文有关。《音准的历史》是这样的，虽然那篇论文给出了欧洲调音音符的音准变化，但本论文试图发现不同国家调音的系统。在可能的情况下，这是通过理论获得的，以亥姆霍兹教授为权威的古希腊;土地，莱顿，为阿拉伯和波斯，和拉贾Sourindro Mohun泰戈尔为印度。当理论不可能时，他用100把音叉测量固定音调乐器（如爪哇和其他地方的木管和金属棒口琴）或土著演奏者在其他乐器上演奏的音调（如印度的拉惹·拉姆·辛格、中国卫生展览会的音乐家和日本村庄的音乐家）。埃利斯先生在获得这些投球时，得到了A先生灵敏的耳朵的实质帮助。希普金斯，谁最亲切地与他合作，在各方面。从这样得到的音高中，音程以半音的百分之一表示（简称为分），其中1200为八度，702为完全五度，498为完全四度，386和316为完全大三度和小三度。然后这些都被标在迪琴的可移动指板上，音阶是可以听到的。偶尔，叉子是由观察到的音高构成的，并从它们构造出协奏曲，因此，最不寻常的间隔被复制到耳朵里，它们与一架节奏良好的钢琴上的那些间隔的确切关系被呈现在眼睛上。在迅速展示了古代和后来的希腊音阶之后，埃利斯先生转向了阿拉伯音阶，兰德教授在莱顿的东方大会上宣读的《阿拉伯音阶》中提供了阿拉伯音阶的数据。它首先显示了毕达哥拉斯音阶，然后在1000年前由鲁特琴演奏家扎尔扎尔对其进行了修改，在降E音（294美分）和E音（408美分）之间引入了一个音档（假设开弦是C），产生355美分的中性三分之一，因此音阶变成C o，D 204，E中性355，F 498美分，接着是同样的四度高音，然后是一个全音。这是在十字军时代流行的系统，他们似乎以风笛的形式把它带到了欧洲，它仍然保存在好的高地风笛上（如格伦和麦克唐纳的风笛），这是由C先生善意地演奏的音阶所证明的。基恩，艺术家。十字军东征后，阿拉伯理论家们对放弃四分制而生产中性的三分和六分制感到愤慨，他们继续使用四分制到17分制，用384和882美分代替扎尔扎尔的355和853美分，但保留了他的名字。因此，中世纪的阿拉伯语系统的17个音符的八度音阶，其中12个音阶被构造出来，其中埃利斯先生能够在他的一个手风琴上演奏10个。但是扎尔扎尔的系统并没有消亡，1849年，美国大马士革传教士伊莱·史密斯（Eli Smith）翻译了一位博学的当代音乐家迈沙卡（Mesháqah）的论文，表明它导致了八度音分为24个四分之一音，正常的音阶为0，200，350，500，700，850，1000和1200美分，而在某些情况下，允许演奏者将音程增加或减少50美分或四分之一音。伊莱·史密斯在这个系统中演奏了95首阿拉伯乐曲，其中一些是在一个特殊的手风琴上演奏的。阿拉伯音乐的两个要点是引入了中性的第三和第六音，以及由四分之一音改变了正常音符，两者都是完全不和谐的。
AT the Society of Arts yesterday, Sir F. Abel, C.B., F.R.S., Chairman of the Council, in the chair, Mr. Alexander J. Ellis, F.R.S., read a paper on “The Musical Scales of Various Nations,” illustrated by playing the scales on his Dichord (a double Monochord, corrected so as to give the true intervals) and five English concertinas, specially tuned by Messrs. Lachenal, which also enabled him to play strains in some of the scales, and by various natrve instruments lent for the purpose by Rajah Ram Pal Singh, Mr, A. J. Hipkins, and Mons. V. Mahillon, The nations represented were chiefly those of ancient Greece, Arabia, India, Java, China, and Japan, with rapid glances at subordinate places. The relation to his former paper on the. History of Musical Pitch was this, that whereas that paper gave the variations in the pitch of the European tuning note, the present endeavoured to discover the system by which different nations tuned. This was obtained when possible by theory, taking as authorities Prof. Helmholtz for ancient Greece; Prof. J. P. N. Land, of Leyden, for Arabia and Persia, and Rajah Sourindro Mohun Tagore for India. When theory was not possible, results were obtained by measuring with his series of 100 tuning-forks the pitch of the notes produced by instruments of fixed tones (as the wood and metal bar harmonicons in Java and elsewhere), or those produced by native players on other instruments (as by Rajah Ram Pal Singh for India, the musicians of the Chinese Court of the Health Exhibition, and of the Japanese village). In obtaining these pitches Mr. Ellis was materially aided by the delicate ear of Mr. A. J. Hipkins, who most kindly cooperated with him in every way. From the pitches thus obtained, the intervals were expressed in hundredths of an equal Semitone (for brevity called cents) of which 1200 make an Octave, 702 a perfect Fifth, 498 a perfect Fourth, 386 and 316 perfect major and minor Thirds. Then these were plotted down on the movable fingerboards of the Dichord, and the scales were made audible. Occasionally forks were constructed of the pitch observed, and from them concertinas were constructed, and thus the most unusual intervals were reproduced to the ear, and their exact relation to those on a well-timed piano rendered sensible to the eye. After rapidly exhibiting the ancient and later Greek scales, Mr. Ellis turned to Arabia, for which Prof. Land had furnished the data in his Gamme Arabe read before the Oriental Congress at Leyden. This showed first the Pythagorean scale, and then its modification by the lutist Zalzal, 1000 years ago, whereby a fret was introduced between those for E flat, 294 cents, and E, 408 cents (supposing the open string to be C), producing the neutral Third of 355 cents, so that the scale became C o, D 204, E neutral 355, F498 cents, followed by the same a Fourth higher, and by a whole tone. This was the system prevalent at the time of the Crusaders, who seem to have brought it to Europe in the shape of the bagpipe, and it is still preserved on good highland bagpipes (as those of Glen and Macdonald) as was proved by taking the scale of one kindly played by Mr. C. Keene, the artist. After the time of the Crusades, Arab theorists, scandalised at giving up the series of Fourths to produce the neutral Thirds and Sixths, carried on the system of Fourths to 17 notes, using 384 and 882 cents for Zalzal's 355 and 853 cents, but preserving his name. So came about the mediæval Arabic system of 17 notes to the Octave, from which 12 scales were constructed, of which Mr. Ellis was able to play 10 on one of his concertinas. But Zalzal's system did not die out, and in 1849 Eli Smith, an American Missionary at Damascus, translated a treatise by Mesháqah, a learned contemporary musician, showing that it led to the division of the Octave into 24 Quarter-tones, with the normal scale of 0, 200, 350, 500, 700, 850, 1000, and 1200 cents, while the player was allowed, in certain cases, to increase or diminish the interval by 50 cents, or a Quarter-tone. Eli Smith gives 95 Arabic airs in this system, of which a few were played on a special concertina. The two important points of Arabic music were the introduction of the neutral Third and Sixth, and the variation of normal notes by a Quarter-tone, both thoroughly inharmonic.