本文選題：“同均三宮(階)”　切入點(diǎn)：“八音之樂”與“應(yīng)聲”　出處：《中國音樂學(xué)》2011年04期

【摘要】：本文針對崔憲先生《一篇缺少學(xué)術(shù)含量的"音樂評論"》一文指出:根據(jù)"內(nèi)部聽覺"或某種"理論"而將五聲、六聲判定為某種七聲音階是錯誤的;"八音之樂"是一個七聲宮均與其上方五度調(diào)七聲宮均的綜合音列,其"第八聲"因處于應(yīng)鐘律位故名"應(yīng)聲",將"應(yīng)聲"認(rèn)作為"常規(guī)變化音"是不正確的;傳統(tǒng)音樂中不存在"同均三宮(階)"實(shí)例,"同均三宮(階)"理論不能成立,"崔文"提出的所謂"三宮(階)同均"也是無助的;新疆維吾爾族民間音樂采用"復(fù)合音樂體系",對它們音階、調(diào)式的判定應(yīng)采取"具體問題具體分析"的態(tài)度,用三種傳統(tǒng)七聲音階硬套是不妥的。
[Abstract]:According to Mr. Cui Xian "a lack of academic content of" Music Review "> the article pointed out: according to the" internal auditory "or a" theory "and the five, six judgment for some seven tone scale is wrong;" music of music "is a seven house and five degrees above the sound adjustment comprehensive sound seven sound columns of the palace were," eighth tone "because of the law should be a bell named" crashed ", will" follow "recognized as" normal change tone "is not correct; traditional music does not exist" tongjunsangong (order) "example" tongjunsangong (order) "the theory could not be established," Cui Wen "calls" (third order) are the same "is also helpless; Xinjiang Uygur folk music by" composite music system "on their scale, mode decision should take" concrete analysis of concrete problems "attitude, with three kinds of traditional seven voice order hard set is wrong.

【分類號】：J612.1
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本文編號：1692118