宫调系的派生性与音阶分类--西北民歌新论之三

Gongdiao System and its Modal Classification

黄河江淮流域民间和传统音乐的音阶构成显示出宫调在两仪五度相生音阶体系中的派生调系地位。典型的派生宫调由以商为中心的原生调系沉降二律而成。其阴阳音级比例为4∶8,音阶框架下扩为"下五上四(度)"结构,使非框架音级增多、音调流畅多变、终止音散化。宫调系以纯阳的五声音阶为基础,扩展为一阴多阳的自然七声音阶、增阳的变徵七声特性音阶、增阴的变闰七声特性音阶和综合性八声、九声、十一声音阶。唐宋"燕乐二十八调"是一种将龟兹调论正声化、雅乐调论俗乐化的折衷理论和创作实践;现存可听诸宫调和其他俗乐实多为五声音阶和自然七声音阶,偶有特性音阶和综合性音阶,用"燕乐音阶"不能概括。中国维吾尔族音乐的音阶构成也具有两仪五度相生音体系原生调系和派生调系的基本特征。因此,用两仪五度相生音阶体系理论通释中国传统音乐,可能将风格相异的各民族、各地域、各阶层音乐追溯至同根。

The modes of folk and traditional music existing in lower reaches of the Huanghe, Huaihe, and Changjiang Rivers display that thegongdiao modal system is derived from the Twowinged Circle of Fifths modal system by lowering down the central tone in a major second, from shang to gong. Thus, the yin-yang ratio of its 12 halfstepdegrees is in 4：8, and its tonal framework is in a [0, 7, 12] structure. These result its scales with more secondary degrees, its melodies with smooth and variable steps, and its cadences with drifting possibilities. Based on the fivetone modes with all degrees in the yang wing, the gongdiao modal system is further classified into natural seven-tone modes with one degree in the yin wing and five in the yang wing in addition to the neutral tonic, special bianzhi modes with all seven tones in the yang wing, special bianrun modes with the fourth and the seventh in the yin wing and all others in the yang wing, and other mixed eight-tone, nine-tone and eleven-tone modes. The 28 Yanyue Modes prosperous during the period of the Tang-Song dynasties is a hybrid theory and practice as well under the confluence of the yayue tonal theory of the court and the kese tonal theory of Qiuci. However, the modes of currently listenable pieces from the gongdiao or suyue created in that period are mostly in five-tone modes or natural seven-tone modes, and sometimes in special or mixed modes; so-called yanyue scale cannot describe these phenomena. The modes of Uygur music in China also show the basic features of both the original system and the derivative system of the Two-winged Circle of Fifths. Therefore, to apply this theory for the analysis of Chinese folk and traditional music may trace the variously styled music of different ethnic groups, regions, and social levels into the same root.