摘要
文章对近年来有关“同均三宫”的理论新释提出讨论意见。讨论要点为 :1.“均”或“调域”是否仅仅是一种“律学规范” ?将其限定为“律学规范” ,是否过于偏狭 ,甚至忽略了其更为本质的“乐学规范” ?2 .提出音阶的理论体系是以五声而不是七律为基础的 ,并加以论证。 3.同均三宫的五正声易位 ,虽均保持了五正声 ,但同时发生了正声与偏音的易位 (即原来一宫中的某些正声 ,在二宫、三宫中成了偏音 )。按此连续性线索 ,五正声在同均四宫、五宫、六宫、七宫中的逐渐丢失就是势所必然的了。
Tongyun sangong is a kind of Chinese musical theory that means the three Chinese traditional gong modes sharing one structure of heptachord. There were some new explanation on this theory in recent years, but the present writer held some different opinions. His main points are as follow: 1) Does Yun (structure of heptachord) or tonal ranging only mean temperament criterion? Is it too biased to define it as temperament criterion, even ignore its essence music criterion? 2) To submit and demonstrate that the theory system of scale should be rather based on the pentatonic than heptachord. 3) For the five principal pentatonic degrees can be exchanged their positions in the three Chinese traditional gong modes sharing one structure of heptachord, though the yun still possess five principal ones, but in the meanwhile, the principal ones exchange their positions with the semitone positions. It means that some of principal degrees in first gong modes turn to semitones in second or third gong modes. According to this clew,the five principal degrees shall be drop off to lost in one structure of heptachord of four, five, six, or seven gong modes.
出处
《黄钟（武汉音乐学院学报）》
北大核心
2001年第1期97-102,共6页
Huangzhong:Journal of Wuhan Conservatory of Music
关键词
同均三宫
乐律学
宫角大三度
五正声
商榷
Tongyun sangong (three Chinese traditional gong modes sharing one structure of heptachord)
musical temperament
major thirds of gong jiao
five principal pentatonic degrees
discussion
