论隋唐燕乐——潮州调式音阶的历史影响

Historical Influence of the Banquet Music of the Sui and Tang Dynasties-Chaozhou Tone-modes

根据霍恩博斯特尔提出的中国、希腊、波斯-阿拉伯音乐三大体系，隋唐“燕乐”的产生乃是波斯-阿拉伯体系与中国音乐体系碰撞的结果。之后，中国对东亚与东南亚各国音乐又产生了很大的影响。小泉文夫对日本阴音阶产生于中国雅乐（中国称俗乐）进行了推论。现再将日本阴音阶与琉球音阶的产生，推论至当今由隋唐燕乐留存的活化石——潮州音乐的调式音阶运用发展而来，从而更明确了历史上中国音乐体系影响的实质内容。

According to the three music systems - Chinese, Greek and Persian-Arabian put forward by Erich Moritz von B. M. Hornbostel （Austria）, the banquet music in the Sui and Tang Dynasties was a result of collision between the Persian-Arabian music system and the Chinese music system. Subsequently, Chinese music has engendered great influence on that of the East Asia and South East Asia. Koizumi Fumio （Japan） concluded that Japanese overcast-scale rooted in Chinese classical ceremonial music （ya-yue）. Now, there is a deduction that Japanese overcast-scale and Ryukyu music originate from evolvement of Chaozhou tones-modes which are regarded as living fossil of Banquet music of the Sui and Tang Dynasties; it thereby more clearly defines the concrete content of Chinese music system＇s influence in history.