谈“一均七调”的新观念

On the New Conception of "Yi Jun Qi Diao"

为使编钟的演奏合乎礼制、仪式,阶级,以及颗数最少的需要;周纯一由雅乐团音乐的长期实践中,悟出"一均七调"的观念,与林谦三"之、为调式"不同,可解读中国宫调理论的一些争论性问题。作者最初认为,这大概是一种赞成或反对黄翔鹏"同均三宫"的说法;但经研究后,发觉对于宫调理论的认识,能启重新思考之效,或者至少可以因而看懂某些文章。而且,此一观念有可能乃中国古代早已存在的一种音阶观念。

For playing set of China Bells in line with etiquette,ritual,class,as well as the need for the least number of pieces,through a long music practice of Yayue（ceremonial classic music） orchestra,Zhou Chunyi realized the conception of ＂Yi Jun Qi Diao＂ that unlike ＂Zhi,Wei modes＂ by Kenzo Hayshi,which could be interpretation of some controversial issues on Chinese Gong-mode theory.The author initially thought that it has been probably support or against the ideas of tongjun sangong（a set of note include three modes） held by Huang Xiangpeng;but through the writers research,found that understanding the theory of Gong-mode could be inspired to rethink effect,or could comprehend some articles at leas as a result.Moreover,this concept might already a kind idea of scale that have been existence in ancient China.