摘要
由于工尺谱天然具有"以字代音"和"音位对应"的双重属性,使得它运用"谱字相替"来实现旋宫犯调变得非常便利,此即工尺谱的"借字"旋宫手法。在传统音乐实践中,常见有"单借、双借和三借"等三种"借"法。一般而言,所"借"之字愈多,旋宫过程便愈显冗繁,而这一切从现代乐理意义上来看,其实都是调号、调名与音程三者逻辑关系的总和。本文不探究工尺谱的传统价值,而是用现代乐理语言来揭示其"借字"手法的根本规律。
Due to the dual natures of Gongche notation natural possess the "Chinese characters substitute for tone" and "tone correspond to place", it is easy to use "PuZiXianti" to achieve XuangongFandiao, that was Gongche notation' s "Jiezi" Xuangong method. In traditional music practice, there are three interchangeable ways of "change single, change double and change triple". Generally, more "Jiezi", the process of Xuangong is more complex and excessive, but from the viewpoint of modern music theory, all of these are actually the sum total of logical relationships among key signatures, key names and intervals. This paper did not explore the traditional values of Gongche notation, but using the language of modem music theory to reveal the fundamental law of "Jiezi" technique.
出处
《黄钟(武汉音乐学院学报)》
CSSCI
北大核心
2015年第3期132-137,共6页
Huangzhong:Journal of Wuhan Conservatory of Music
关键词
工尺谱
借字
移宫换调
基本乐理
Gongche notation (Chinese traditionalmusical notation), jiezi (interchangeability of words or characters), Yi Gong Huan Diao (change tune), basic theory of music