从中日乐律之别看隋唐乐调

Viewing the Tunes in Sui and Tang Dynasties from the Differences Between Chinese and Japanese Temperament

我国传统乐调上出现优先运用大二度转调的现象,实际上是有着极其深刻的历史渊源。在隋初郑译与外来苏祗婆乐调对应(587),即郑译以宫为调首的雅乐音阶,与苏祗婆以徵为首的俗乐音阶对应,郑译将整体音阶升高大二度,成为以商为首的雅乐音阶,保留了琵琶上相差半音的bsi、si两音,创立了八声音阶,由此产生的bsi、do之间的大二度关系,一直左右着我国传统音阶的发展,比较典型的就是传统广东音乐中的乙反调与正调。关键就在于这个bsi音直至今天都还是没有唱名的,故而在乐调理论历史上长期纠缠于此。例如,黄钟宫的几近消失;侧商调的调名由来,理论上是商调曲实际古乐谱译出的却是宫调曲等都与此有关。现在通过分析古代日本雅乐与我国唐俗乐的密切关系,可以用来解读这些现象。

The phenomenon of“modulating by major second in preference”exited in Chinese traditional tunes has a profound history.In the early years of Sui Dynasty,Yi Zheng corresponded a mode with Suzhipo's(587),that is,Yi Zheng corresponded yayue scale using gong as keynote to Suzhipo's suyue scale using zhi as keynote.Yi Zheng transposed the yayue scale up a major second to form a yayue scale using shang as keynote while reserving the notes of si-flat and si,which form a semitone on the pipa,thus creating an octatonic scale.The resulting major second between si-flat and do has been swaying the development of Chinese traditional scales,and yifan mode and zheng mode in traditional Cantonese music are two typical examples.However,the note si-flat has never get a singing-syllable,and thus the history of modal system theory has long been interwound with it.For exmaple,the huangzhong-gong has nearly disappeared;and for the origin of the name of ceshang mode,theoretically,it is a shang mode but its translation from ancient score became a gong mode,all are related to this.This paper discusses on these phenomena by analyzing the close relationship between the gagaku in ancient Japan and the suyue in Tang dynasty China.