传统音乐究竟有多少调?

On Tones of Traditional Music

汉魏六朝有相和三调说,梁武帝等人有八十四调说,唐人有二十八调说……今人则又有六十调和一百八十调之说。传统音乐究竟有多少调?对此,本文首先指出:(1)上述种种的"调",有的指调高、有的指调式,需加以分清。(2)相和三调、八十四调、二十八调等等,并非同类性质的概念,彼此之间并无孰多孰少之可比性。本文第二部分则着重指出:(1)八十四调中的二十四种"闰"调式,其实都是其他宫系中另一些调式的重复。从理论到实践,八十四调说都是根本不能成立的。(2)三种传统七声音阶中,清角音阶为单一调性的基本音阶,而变徵音阶和清羽音阶则都是因调接触而构成的双宫或三宫的综合性子系音阶,把这三种层次、性质不同的音阶所含有的调式加在一起而得出一百八十调之说,在逻辑上是站不住脚的。因此,一百八十调之说,也是不能真正成立的。笔者认为:我国传统音乐共有十二均(十二律每律可建一均),每均含宫、商、角、徵、羽五种调式,十二均共六十调(式),这就是传统音乐所有的"调"。

There are different opinions on tones of traditional music. The paper points out that pitch and mode should he distinguished when referring to ＂diao＂. The theories of three tones of Xianghe （ an old Chinese melody） , eighty four tones and twenty eight tones are based on different concept and thus are not comparable. Neither of the theories of eighty four and 180 tones can be tenable. The paper holds that there are a total of twelve temperaments （ twelve pitch - pipes） in Chinese traditional music, each of which includes five modes named gong, shang, jue, zhi and yu. There are totally sixty tones （ modes）.