《敦煌乐谱》乐曲调式释疑

An Interpretation of the Modalities of the Dunhuang Music Scores

自林谦三率先对《敦煌乐谱》进行研究以来,有一个问题始终困扰着研究者们,正如林氏所言:“又据唐代中期的通说,《伊州》应该是商调,而在这乐谱里反倒不能理解为商调。”作者长期以来一直对乐谱第二、三组乐曲进行技术性的“宫”与“商”调式转换,后来又对唐的“侧商调”进行了研究。作者认为,如果按第二、三组乐曲实际解译的宫调式理解,从乐调理论上来加以论证,或许更符合当时的实际。说明唐代极有可能于某一个时期,在乐调(调性、调式)概念上有将“侧商调式”作为“黄钟宫调式”的代称或另称现象,这些都是从日本留存的唐代乐曲解译中得到的启发。

The author proposes that,if following the interpretation of the actual tonalities of the second and third sets of“Yizhou”and theoretically demonstrating it,we may achieve a better alignment.This suggests that it is very likely at some point during the Tang Dynasty,the concept of musical modes(tonality,modality)included referring to the“Ceshang mode”as an alias or alternative term for the“Huangzhong Gong mode”.