例解《敦煌乐谱》乐曲调式

An Examplified Interpretation of the Modes of Dunhuang Musice

文章通过对《敦煌乐谱》中两首《伊州》曲的对照,将现在乐曲谱面的宫调式转回商调式。通过对日本《三五要录谱》中"壹越调[上]"沙陁调(正宫)的固定调"重乐音阶"谱面,以及将越调曲商调式误判为宫调式的现象发现,由于唐时对黄钟宫与后来的正宫这两个相差大二度的乐调(调性、调式)存在有一定的概念障碍,才会产生这种情况。今天所见到的《敦煌乐谱》第二、三组乐曲中,《伊州》曲的有关历史文献明确记载是商调曲,而解译出来的乐谱均落在宫音上构成宫调式,文章对此进行了解释。

In comparison of the two versions of Yizhou in Dunhuang Tablatures,this article raises an argument considering resuming the original Shang-mode to replace the current mistaken Gong-mode.According to the fixed note-names used in the score of Yiyuediao(Part I)in Shatuo-mode(Zhenggong)collected in Sanwuyaolu Tablatures in Japan,the author infers that the Gong mode was a wrong judgment confused by the concepts of the Tang Huangzhong-Gong and the later Zhenggong,which is 2-semitone lower.All reserved documents in the series 2 and 3 of Dunhuang Tablatures indicate Yizhou as in the Shang-mode,except the modern translations all in Gong-mode.The paper gives conmments on this issue.