中世紀印度音樂文獻中微分音（śruti）與音符（svara）的觀念

Theory of Śruti and Svara in the Indian Musical Doctrines of Medieval Era

吳承庭(Chen-Ting Wu)

微分音 ； 音符 ； 印度基本音階 ； 《戲劇論》 ； 馬唐剛 ； 新護 ； 彩神 ； śruti ； svara ； grāma ； Nāṭyaśāstra ； Mataṅga ； Abhinavagupta ； Śārṅgadeva

關渡音樂學刊

18期（2013 / 07 / 01）

81 - 95

繁體中文

微分音（śruti）在現代印度拉格（rāga）音樂練習中，是指演奏者偶爾地使用拉格音階之外的音符，其目的是增加音樂的美感經驗。然而，在最早古代印度音樂文獻《戲劇論》（Nāṭyaśāstra）中，微分音是指音符的最小聲音單位，並指出每個音符是由數個微分音所組成。中世紀印度三位重要音樂學者：西元七世紀的馬唐剛（Mataṅga），新護（Abhinavagupta，十世紀）和彩神（Śārṅgadeva，十三世紀）視《戲劇論》中的微分音和音符的探討為―音樂本質的重要課題。他們從音樂實體和現象的角度指出微分音是音符（svara）的兩種最小基本聲音單位－音高和音質，並使用微分音來解釋幾個重要音樂概念：（1）樂音本質；（2）音符的形成；（3）兩個基本音階（grāma）—沙德加（ṣaḍja）和馬德雅瑪（madhyama）不同的原因；以及（4）微分音和音符的因果關係。本文目的是探討上述中世紀三本印度音樂文獻中所記錄的微分音與音符的理論，包括兩者的定義和因果關係。期望提供現代音樂學範圍中關於音樂本質、音樂與聲音的探討，提供另一層面的看法。

The application of śruti, in the contemporary practice of Indian rāga music, is used for enhancing the beauty of music by adding extra musical notes which are not belonged to the respected rāga scales. But in Nāṭyaśāstra, śruti is regarded as the smallest component of a svara (musical note). Three important Indian musicologists of medieval era, Mataṅga (7th century A.D.), Abhinavagupta (10th century A.D.) and Śārṅgadeva (13th century A.D.), hold that śruti is the diminutive sound of a svara in both pitch and timbre. It is applied to explain for the following points: (1) the nature of svara; (2) the development of svara; (3) the difference of two śaḍja and madhyama grāmas (basic scales); and (4) the relation of cause and effect between śruti and svara.The main purpose of this thesis is to discuss the concept of śruti and its relation with svara recorded in these three musicologists' doctrines including the definitions of śruti and svara, and their causal and effective aspect. Hope to provide some different thoughts to the modern musicologists and philosophers who are seeking the very nature of music and the differentiation between musical sound and noise.

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