工尺七调别论  

My Opinion About Gongche Seven Modes

作　　者：郑荣达[1] 

机构地区：[1]武汉音乐学院音乐学系

出　　处：《黄钟（武汉音乐学院学报）》2003年第3期55-59,共5页Huangzhong:Journal of Wuhan Conservatory of Music

摘　　要：中国音乐中使用工尺字谱的历史悠久 ,不同时期存在着不同的记叙方式及不同的视谱方法 ,还尚存在着不同调名对同一谱字的不同音位、律音的选择功能 ,以及正声、清商、下徵三律调之间工尺七调的转换方法和不同时期的历史现状。本文就以上诸方面存在的问题 ,以及不同的认识 。There was a long history of Chinese music using the Gongche characters of musical notation, and the different time had the different way of narrative as well as the reading methods. To the same characters of ancient Chinese musical notation, the different modes had the function to select the different position of notes and temperamental notes. The writer in the article proposed his new idea about the transition way among Zhengsheng, qingshangi, andXizhi modes in gongche seven modes, as well as their historical status.

关 键 词：工尺 谱字 字位 七调 唱名 调名 正声 下徵 

分 类 号：J612[艺术—音乐]