三论“燕乐音阶”——与杜亚雄先生商榷

The Third Essay on “Scale of Yan Music”——A Discussion with Mr. Du Yaxiong

"燕乐音阶"来源于南宋蔡元定《燕乐》一书,因学者对南宋蔡元定《燕乐》所云"音阶"的误解而来。其来历最早追溯到王光祈的"燕调"理论。近代学术研究对"变"与"闰"的错误认识是产生"燕乐音阶"的根源。近现代音乐基础理论的撰写者接受了这个学术观点并写入教科书中。文章认为"燕乐音阶"是不存在的,"燕乐音阶"与我国西北地区存在的"宫、商、角、清角、徵、羽、清羽"的音阶不是一回事情,不能画上等号。杜亚雄先生因没有搞明白文章所云"燕乐音阶"的具体所指,而将其与我国西北地区存在的那种音阶相混淆。

The term“scale of yan music” （ yan music refers to royal court music for banquet） came from the book Yan Music written by Cai Yuanding in the Southern Song Dynasty, as a result of schol-ars’ misunderstandings about “scale” in Cai’s book.It could be traced back to Wang Guangqi’ s theory of “yan mode”.Wrong understandings about“bian” and“run” in modern academic studies were the root causes of the term“scale of yan music”, which were accepted by basic theory writers of modern music and written into the textbook.This paper argues that the“scale of yan music” does＆amp;nbsp;not exist, and it is not the same with the scale of“gong, shang, jue, qingjue, zhi, yu, and qingyu”that exist in northwest China.Mr.Du Yaxiong did not understand the specific indication of“scale of yan music” and confused it with the music scale from the northwest region of our country.