摘要
在隋初郑译将中国乐调与苏祗婆乐调进行音阶对应前,中国乐调为“七声之内,三声乖应”,郑译将弦调高大二度后就只有“一声不同”,故而产生八声音阶。在郑译进行上述对应前,“黄钟宫”与“越调”是“之调式”形式,此后在无形中相叠,形成“为调式”的同主音用调模式。值得注意的是,与对应后“越调”同音位的并非原来的“黄钟”音位,而是提高了大二度的音位,即后来的“正宫”。日本雅乐受此影响,不仅将调首移高大二度,还将“沙陀调”(正宫)与“越调”合为一律,以突出“同主音”关系,形成十二律首律(第一律),即“壹越律(调)”。日本雅乐在乐调概念上虽有“吕调”与“律调”之分,但在实际运用中却将“越调”变成“沙陀调”(正宫),体现出受到唐俗乐“黄钟律名”与“正宫调名”的影响。
Before Zheng Yi aligned Chinese modes with the Suzhipo modal system in the early Sui Dynasty,there were three notes within each Chinese seven-tone scale that did not match the corresponding scale in Suzhipo's system.By tuning the zhong string a major second higher,Zheng Yi reduced the discrepancy to only one note and thereby established an eight-tone scale.Before this adjustment,the Huangzhonggong and Yuediao were different scales"of"a system,but after Zheng's adjustment they overlapped"as"two scales sharing the same tonic.It is worth noting that after adjustment,the Yuediao scale aligned with the new Huangzhong that was risen by a major second,which was later termed as Zhenggong.Japanese Gagaku adopted this innovation,rose its modes by a major second and merged Shatuodiao with Yuediao into the same ritsu to emphasize the shared tonic.The Ichikotsu-ritsu,the first one of Japan's twelve lu,was thus formed.While Japanese Gagaku distinguishes between ryo-modes and ritsu-modes in theory,its practical application transforms Yuediao into the Shatuodiao(Zhenggong),reflecting the influence of the nomenclature of Huangzhong-ritsu and Zhenggongmode.
出处
《音乐艺术(上海音乐学院学报)》
北大核心
2025年第1期4-12,共9页
Art of Music(Journal of the Shanghai Conservatory of Music)
基金
2023年度国家社科基金艺术学一般项目“中国传统琵琶乐曲旋律特征研究”阶段性成果,项目批准号:23BD074。
关键词
唐俗乐
日本雅乐
黄钟律名
正宫调名
日本十二律名
壹越律
popular music of Tang Dynasty
Japanese Gagaku
Huangzhong-ritsu
Zhenggong-mode
Japanesetwelve lu
Ichikotsu-ritsu
