五声性变音的声名探讨

On the Naming of Varied Sound of Five Notes

研究中国民族音乐,一定要涉及到五声正声与偏音,特别是三度间音之后出现的其他变音。一直以来,在中国的五声性调式旋律以及多声部的创作实践里,除了宫、商、角、徵、羽和四个偏音以外,随着创作的深入也会涉及各种其他的变化音。这既是创作技术手法多元化的表现,也顺应了社会音乐文化发展的需要和潮流,而涉及的首要问题就是各种偏音的声名规范化要求:首先,四个常用偏音以外的偏音如何命名,即五声以外的声名如何对应十二音命名;其次,常用的偏音“变”与“闰”是什么?如何对号入座。解决了这些基本问题也就澄清了理论上的一些疑点,纯正了中国音乐文化的理论,也为今后的音乐创作实践铺垫了基础,这也是本文研究的意义所在。

To study Chinese national music,it is necessary to involve five notes and their varied sounds,especially other sounds that appear after the third-degree interspersed sound.This article believes that the five-note melody and harmony practice in China involve other varied sounds in addition to gong,shang,jue,zhi,yu and four partial sounds as the creation deepens.This is not only the expression of the diversification of creative techniques but also the needs and trends of the development of social music culture.The first problem involved is the standardization requirements of the naming of various partial sounds.Firstly,how to name other partial sounds except for the four common partial sounds,that is,how the sound names other than the five sounds correspond to the twelve-tone name;secondly,what are the commonly used partial sounds“bian(变)”and“run(闰)”?How to match?Solving these basic problems also clarifies some doubts in theory,purifying the theory of Chinese music culture and laying a foundation for future music creation practice,which is also the significance of this paper.