N Some Problems Concerning Temperament Of Qing Dynasty

Temperament in the Qing Dynasty an important part of China’s ancient acoustics, it is also a key field of the history of science. This dissertation analyzed in the rationality, source and influence of Kangxi Fourteen Temperament, understanding and evaluation of the Qing Dynasty scholars on Zhu Zaiyu’s equal temperament, proportional algorithm on temperament of Qing Dynasty scholars. A brief introduction to this dissertation is as follows:Firstly, a systematic examination was conducted on structure and laws of temperaments producing of Kangxi Fourteen Temperament, it is proved that the half of Taicu was the octave of Huangzhong of Kangxi Fourteen Temperament’s pipes which had same diameters is wrong by modern acoustics theory, besides, the pipes which had different diameters could not reach the requirement that their sound was octave or the same with their corresponding pipes which had same diameters.Secondly, by comparing Kangxi Fourteen Temperament with LuLuJieYao, a book introduced the western music theory which was written by the missionary, the dissertation provides a new explanation that Kangxi Fourteen Temperament is not a result of the traditional temperament theory but origined from LuLuJieYao.Thirdly, by conducting a systematic analysis of musical instrumensts recorded in LuLiizhengyi, this dissertation finds these instrumensts were strictly followed the viewpoint of Kangxi Fourteen Temperament.Forthly, based on the analysis and study the the original literatures which were written to evaluate Zhu’s equal temperament by the scholars of Qianlong Dynasty. The dissertation elucidates the evaluation on Zhu’S equal temperament was a criticism under imperial power instead of purely academic contending. The will of Qian Long and Kangxi Fourteen Temperament directly impacted on the academic orientation of those scholars.Fifthly, based on three musical works of JiangYong, the dissertation makes analysis and discussion of the process which from he didn’t agree with both Zhu’s equal temperament and SanFenSunYi to accept Zhu’s equal temperament, besides,the reason why he could accept Zhu’s equal temperament is also disscussed in this dissertation.Sixthly, by comparing An Qingqiao’s temperament with Zhu’s equal temperament, the dissertation finds that An Qingqiao’s temperament originated from Zhu, while they have different calculation process. An Qingqiao’s progress on temperament lied in making XuLu which means the length of LuLu can be any size instead of certainty. As long as the lengths of LuLu conform to the geometric proportion, An Qingqiao believeed they can be harmonious tones.Seventhly, by analysis on YinFenGuYi, which was written by Dai Xu who was a famous scholar on math, the dissertation finds his thought of proportional algorithm on temperament originated from traditional SanFenSunYi. According to Kangxi Fourteen Temperament, he calculated the length through Huangzhong to Half TaiCu by geometric calculation, which did not reach the practical sense of same pitch.Eighthly, based on Zaiwu’s works, the dissertation makes analysis and discussion of the academic source of his seven-tone equal temperament, presents the calculating process using some western mathematical methods he first introduced to the temperament research area. Besides, this dissertation verifys the correctness of the seven-tone equal temperament calculation results on both pipe and string, which concludes that the temperament on string is completely equal,but the pipe sound can not achieve this effect. It indicates that the Zaiwu’s seven-tone equal temperament was only a pure theoretical construction without any experimental testing or modification.