摘要：The special qing chime stone was a percussion instrument characteristic of ancient China from the late Neolithic to the mid Shang period. Investigation and pitch-testing of the pre-Shang and Shang special qing unearthed from Shanxi indicate that during this period its shape underwent the course of gradual standardization, and that there was no uniformity until the late Shang and early Zhou. At this stage, if special qing were used as standard instruments, their pitches were certainly ununiform, so it is doubtful that there existed the concept or relatively stable, absolute pitch in a vast area. Before the Shang dynasty, the special qing was largely used as a ritual and sacrificial object and functionated as a signal-giving musical instrument. Its functionating as a musical instrument in the modern sense began with the flourishing of the Bronze Age in China, and was gradually evolved through repeated using in combination with other musical instruments.

摘要：以美国芝加哥等地收藏的乾隆二十六年特磬和二十九年编磬,与国内的一些藏品加以比较,并结合文献记载予以分析,可知在乾隆二十六年,中和韶乐增用特磬和镈钟。清代有特磬和编磬两种磬制。特磬与镈钟对应,以大小来设计音高,二者都是随月用律,其意义重在礼仪;编磬与编钟对应,以厚薄来设计音高,并按十二律编排,可以旋宫转调。

摘要：镈钟、特磬是上古乐县重器,明代洪武初废除。清代乾隆二十六年重新复兴,并在形制、律制和演奏方式等坚守传统,力图恢复古制。其中,镈钟为上古甬钟形制。清代乐县仅按月令加入单个镈钟、特磬,并无四面宫县设置,体现明清乐县质朴特质。在地方祭孔中,镈钟、特磬却早于王朝,且地方士人对于镈钟的认识也各有不同。由于地方条件限制,只需比编钟个头更大的乐钟可作为特,特磬可用云磬等代之。地方对于镈钟、特磬的使用传统,体现了掌控中国地方权利的士阶层,有着执着延续古代礼乐、风教为先的儒家精神。

摘要：本文通过保存较好的20件编磬及6件特磬,对其出土情况、时空分布、形制特征及音乐性能进行了分析,并对其相关问题进行了探讨,得出结论:编磬在西周仍被作为礼器使用;特磬与编磬的制作工艺有较大的差别;西周编磬是由商代晚期石磬(永余、永启、夭余石磬)发展演变而来。

摘要：中国古代把经过人的加工而成的自然物叫做"器",而把人的文明秩序的社会行为称为"礼"。无论是"器"还是"礼",都和人密切相关。于是,人和器、人和礼演绎出文明美丽的花朵和宝贵的果实,这极为突出地表现在宫廷礼乐所用的乐器之上。中正典雅的"乐"传说黄帝命乐官伶伦首制音乐,舜帝命乐官夔首制乐舞,其后中华礼乐逐步形成。礼乐文化始于周公。他继承和总结夏商礼乐,以民众治国为重心,制定了系统的礼乐制度。

摘要：一、中原地区古代音乐文化悠久,音乐考古资源丰富中原自古为礼乐之邦,这片丰厚的土地上有着源远流长的历史文明,河南地处中原腹地,是中华文明发展的核心腹地。以河南为代表的中原地区音乐历史悠久,音乐考古资源丰富,古代音乐文化更是得天独厚、熠熠生辉。在古文献中,曾有黄河流域原始部落的葛天氏之乐,大禹治水的《大夏》之乐,商人"恒舞于宫,酣歌于室"