瓶窝李衡祥《芝岭录》所载平调、羽调、界面调研究

Study of Pyoung-jo,Woo-jo and Gyemyoun-jo in Lee Hyoung-sang's Jiroungrok

瓶窝李衡祥在其著作《芝岭录》第六册《东方雅俗乐》中论述了平调、羽调、界面调。一般平调和羽调是Sol旋法、界面调是La旋法,而瓶窝所述平调和界面调是Do旋法、羽调则是Sol旋法。对比瓶窝可能接触过的《梁琴新谱》中使用的四调,可知瓶窝在《芝岭录·东方雅俗乐》罗列的平调、羽调、界面调和《梁琴新谱》的乐调有关联,但是由于瓶窝对古乐的追崇,对乐调的解释也与《梁琴新谱》以及现行歌曲的乐调不同。

Lee Hyoung-sang wrote down a comment about musical tone such as Pyoung-jo,Woo-jo,Gyemyounjo in Jiroungrok.Generally Pyoung-jo,Woo-jo is Sol-mode,Gyemyoun-jo is La-mode,only Lee Hyoung-sang explained that Pyoung-jo,Gyemyoun-jo is Do-mode,Woo-jo is Sol-mode.Because it is reasonable to assume that Lee Hyoung-sang read the Yanggeumsinbo,compared Jiroungrok’s Pyoung-jo,Woo-jo,Gyemyoun-jo with Yanggeumsinbo’s four kinds of mode.Finally Pyoung-jo,Woo-jo,Gyemyoun-jo in Lee Hyoung-sang’s Jiroungrok are concerned with Yanggeumsinbo’s 4 kinds of mode.Because Lee Hyoung-sang follow the ideal about ancient music,he should interpreted musical tone in different ways.