论工尺谱“借字”手法的现代乐理意义  

On the Modern Musical Theoretical Significance of GongchePu's“Jiezi”Method

作　　者：陈明[1,2] 

机构地区：[1]武汉大学艺术学系 [2]武汉音乐学院作曲系

出　　处：《黄钟（武汉音乐学院学报）》2015年第3期132-137,共6页Huangzhong:Journal of Wuhan Conservatory of Music

摘　　要：由于工尺谱天然具有"以字代音"和"音位对应"的双重属性,使得它运用"谱字相替"来实现旋宫犯调变得非常便利,此即工尺谱的"借字"旋宫手法。在传统音乐实践中,常见有"单借、双借和三借"等三种"借"法。一般而言,所"借"之字愈多,旋宫过程便愈显冗繁,而这一切从现代乐理意义上来看,其实都是调号、调名与音程三者逻辑关系的总和。本文不探究工尺谱的传统价值,而是用现代乐理语言来揭示其"借字"手法的根本规律。Due to the dual natures of Gongche notation natural possess the ＂Chinese characters substitute for tone＂ and ＂tone correspond to place＂, it is easy to use ＂PuZiXianti＂ to achieve XuangongFandiao, that was Gongche notation＇ s ＂Jiezi＂ Xuangong method. In traditional music practice, there are three interchangeable ways of ＂change single, change double and change triple＂. Generally, more ＂Jiezi＂, the process of Xuangong is more complex and excessive, but from the viewpoint of modern music theory, all of these are actually the sum total of logical relationships among key signatures, key names and intervals. This paper did not explore the traditional values of Gongche notation, but using the language of modem music theory to reveal the fundamental law of ＂Jiezi＂ technique.

关 键 词：工尺谱 借字 移宫换调 基本乐理 

分 类 号：J602[艺术—音乐]