中国传统音调的数理逻辑关系问题

Mathematical Logic in the Tone-relation of Traditional Chinese Music

这里有一个新词:“钟律”。我们在讲准备知识的时候,提到缪天瑞先生的《律学》里面用了“五度网”这个词。同样一个意思在丹麦的柯勒庐普的著作里,叫做“纯律三度音系网”。在德国系统的一些律学著作中,叫做“功能网”。名称虽然不同,实际是一个东西。我反复考虑,觉得都不确切。“五度网”是着重它的五度相生关系,是从这个网的横向发展来看。“三度音系网”是从纵向来看,就是它的纯律关系。这种名称的三度、五度的提法,都有它的偏向。以往的律学理论,总是着重单一律制。总是设想,我们音乐实践中用的律制。

This is a note of one of the lectures on the formation of traditional Chinese mus-ic given hy Professor Huang Xiang-Peng.In this lecture,Professor Huang pointed outthat music of all nationalities in the world must be conditioned by the natural lawof the relation-ship between tone and number,but music of each nationality has itsown national characteristics. For instance,in music of most nationalities the 'networkof fifths' or the 'network of the system of thirds in just intonation' represent theuniversal law, however when it applied to traditional Chinese music, it shows thecharacteristics of the tuning and temperament of the bells used in succesive dynastiessince pre-Qinperiod; in this tone-system the structure of traditional Chinese scalestakes on structural patterns different from those of the west and those of othernationalities of Asia and has different structural logic. Professor Huang also restated the theories he had put forward previously: thetheory of 'Three Gong (Do) in the same seale'(同均三宫)and the theory that eachof the three scales of a seven-note series in the same twelf-note series also con-tains the 'same Gong (宫) field' of five different modes. In addition, Huang gave somenew explanations of some phrases in ancient Chinese writings that are obscure inmenaning, discussed the method of data analysing for the present study of determ-ining the pitches of Chinese music, and made some suggestions about the identific-ation of the relations of the Chinese system of keys and modes and related questionsof notation in the system. All those mentioned above reveal the new developments in the current pursuitsin the study of traditional Chinese music.