燕乐调与工尺四调关系研究

The Research on the Relationship between Yanyue Diao and Gongche Sidiao

从隋唐燕乐调与元明工尺四调关系研究着手,来追溯燕乐调的衍变轨迹。可以发现从唐代主奏乐器四弦四相琵琶的纵向音阶多弦切割排列,到宋代筚篥上一以贯之方式十音孔排列,再到元明横向七音孔排列形式,整个乐调也由注重调式的运用,转而集中于几个调性上的运用。这样,除了保留正宫(调)名称以外,其他的调名有的由于没有了音位而被取消,有的同一音位上重叠而被取消,这就最终成为笛上"另拟宫谱"的来由。

From the research of yanyue diao of Sui-Tang Dynasties and gongche sidiao of Yuan-Ming Dyansties, the aim of this paper is to trace the evolution ofyanyue diao. From the arrangement of strings and holes of ancient musical instruments, such as pipa of the Tang Dyansty and bili of the Song Dynasty, there comes the conclusion that yuediao （music tune） turns the stress from modal application into the use of several tonalities. Thus, except zhenggong terms, other key names are all cancelled because of the lack or overlap of tone positions. This is the origin of ＂another pro- posed gongpu＂ on the musical instrument di.