摘要
文章依据文献史料和传统音乐调名遗存,梳理明清自俗乐二十八调转型为工尺调名后,不同工尺调命名体系的历史演化逻辑、乐学内涵特征和相互联系。认为,明末以来的工尺调名实践应用,存在"正宫调系统→小工调系统→乙字调系统"的演化历程。这些基础调名和转调关键音不一的各宫调系统,在保持相互调名和调高关系一致的同时,也在传统音乐的丰富实践中不断转型,依照"尊崇上字宫音"或"不同系统混用"等原则,讹变出多种类型的宫调体系。现存诸多传统音乐品类中形态各异、结构不一的工尺调名系统,都是宫调理论自唐宋一路走来,历经明清工尺调转型与丰富发展后,在现存传统音乐实践中积淀遗留和继续施用的结果,其主体逻辑关系可在宫调理论的"有序演化"与"因势讹变"中获得统一。
This paper makes a review of historical sources of different Gongchediao, from twenty - eight Diao during Ming and Qing Dynasty, based on historical literature and folk relics. Author believes that these were one evolution and practical system （Zheng - gong - Dynasty. These Gongdiao systems, in wanted to keep the accordance betwee pie of ＂Give priority to ShangZI - Gon diao; Xiao - gong - diao; Yi - zi - diao） in GongCheDiao since late Ming which basis names of Diao and their modulation tone were not unified, was n name and pitch of Diao. Meanwhile, these systems which based on princi- gYin＂ （尊崇上字宫音） and ＂mixture of many kinds of modes＂ （不同系统混用）, transformed continually in abundant traditional music practices and produced different kinds of Gongdiao systems. Form Tang to Qing Dynasty, Constantly developing theory of Gongdiao produce a lot of form and structure in traditional music. In short, evolution of Gongdiao system presents two characteristics ： order evolving and change at times.
出处
《星海音乐学院学报》
2016年第2期66-80,共15页
Journal of Xinghai Conservatory of Music
基金
2010年度国家社会科学基金艺术学项目"宋以来宫调理论变迁及其与音乐实践的关系"(10CD082)
关键词
工尺七调
正宫调
小工调
乙字调
俗乐(燕乐)二十八调
宫调理论
GongChe - QiDiao
Zheng - gong - diao
Xiao - gong - diao
Yi - zi - diao
folk music
28 - Di- ao
theory of Gongdiao
