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18世纪的法国传教士若瑟·玛利·阿米奥(Joseph Maric Amiot),是民族音乐学历史中真正的先驱,是第一位全面写作有关中国音乐的权威性文章的欧洲人。他不仅是一位天才的音乐家,在北京居住的那些年代里,他对中国音乐文献研究之深,在外国人士中也是史无前例的。他的著作曾立即产生持久的影响,这在以后研究中国音乐的学术界中是显而易见的。 阿米奥研究中国音乐的主要著作《论中国古代和现代音乐》(Mémoire sar la musique des Chinois, tant anciens quc modernes),1779年在巴黎出版,1780年重印。他的一些其它短小文章也付印过,但还有许多并没有出版,其中就包括一篇对上述著作的补遗。在这篇补遗中,他提供了新的材料,并且答复了法国评论家们对他的评论。 本文旨在重点论述阿米奥在古代文化中关于毕达哥拉斯定律法(Pythagorean tuning)起源的争论中的作用。这场争论是由于让——菲力普·拉莫(Jean—Philippe Rameau)在《实用音乐辞典》(Code de musique practique)中,以阿米奥早期手稿为依据,错误地描绘了中国古代定律法所引起的。后来,其他18世纪认为毕达哥拉斯定律法起源于希腊、埃 及和中国的理论家让——亚克·卢梭(Jean—Jacques Rousseau)、德尼斯·狄德罗(DenisDiderot)、皮埃尔—若瑟·鲁西埃(Pier
The 18th-century French missionary Joseph Maric Amiot, the real pioneer in the history of ethnomusicology, was the first European to fully write authoritative articles on Chinese music. Not only was he a talented musician, he studied Chinese music at a time when he lived in Beijing and was unprecedented among foreigners. His writings had a lasting and immediate impact, which was evident in the academic world in which Chinese music was later studied. Amio’s masterpiece in Chinese music, Mémoire sar la musique des Chinois, tant anciens quc modernes, was published in Paris in 1779 and reprinted in 1780. Some of his other short essays were printed, but many were not published, including an addendum to the above book. In this addendum, he provided new material and replied to comments made by French commentators. This article aims to focus on the role of Amio in the debate about the origins of the Pythagorean tuning in ancient cultures. The controversy stems from the fact that Jean-Philippe Rameau, in the Code de musique practique, based on the early Amio scriptures, misrepresents the ancient Chinese laws Caused by law Later, in the other eighteenth century, the Pythagorean laws originated from the theorists of Greece, Egypt and China Jean-Jacques Rousseau, Denis Diderot, Pierre - Joseph Luxière (Pier