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在唐代俗乐二十八调体系形成之前,就有隋的郑译和唐的祖孝孙等人提出的“律有七音,音立一调,故成七调,十二律合八十四调,旋转相交”等旋宫转调方面的理论。但,自唐俗乐律调体系产生后,该七宫四调的旋调理论更具有音乐的实践性,且在宋代以后的理论和应用上有了更进一步的发展。俗乐二十八调体系,大约产生于公元800-900年之间,该体系是以管色七个谱字作为固定音高记谱法中的音律符号为主要特征的。在它的理论中,每宫均只有四个调(式),与以上时期所述的每宫均五调或七调的理论,有着截然不同的架构,其各宫均四调之间隐含着严密的调结构关系和新的旋调模式条件。这正是本文重点要通过遗存的历史文献的解读来探讨的一系列问题。
Before the formation of the folk music twenty-eight system in the Tang Dynasty, there was Sui’s translation of Zheng and Tang’s ancestral surnames Sun and others proposed that “ Eighty-four tune, turn intersect ”and other spinosad transfer theory. However, since Tang dynasty folk music regulation system was produced, the theory of spin-adjustment of the seven temples and the four dynasties is more practical in music, and further developed in the theory and application of Song dynasty. The folklore 28-tone system, which originated around 800-900 AD, is characterized by seven colors of the tube color as the musical symbols in fixed-pitch notation. In its theory, each house has only four tones, a completely different architecture from the five-or-seven-tone theory of each house described in the above period, with implicit Tight relationship between the structural adjustment and the new rotary mode conditions. This is exactly the series of questions that this article will focus on through the interpretation of the surviving historical documents.