关于四个变声名称的建议

Proposals for the Names of Four Biansheng

我国传统音乐理论中四个变声的名称不仅不统一,而且存在同级多名、同名多级的情况,其中一些常用的阶名还源自汉代以后的学者对先秦乐律学成果的误解,完全不合逻辑。根据黄翔鹏先生的乐律学研究成果并追溯这些变声名称的含义及来历,建议对诸多阶名进行筛选,废除其中名不副实者,保存其中合理的。建议在我国基本乐理的教学中,用曾侯钟铭上的"和"、"穆"取代"清角"、"清羽",用"变"取代"变宫",用"中"取代"变徵"。

In the traditional Chinese music theory, the names of the four biansheng are not uniform. There are several names for the same scale and the same name may refer to multiple scales. Some scale names are derived from misunderstandings of the pre-Qin temperament by scholars after the Han Dynasty. According to Huang Xiangpeng’ s research on temperament, and by tracing the meaning and origin of the names of biansheng, we should discard unworthy scale names and save the reasonable ones. In the teaching of basic music theory, we can use“he” and“mu”in the inscription of Marquis of Zeng State instead of“qingjiao” and“qingyu”, “bian” instead of“biangong”, and“zhong” instead of “bianzhi”.