‘和律论’之争已持续五年多,进行了两个回合。其间有五人、六家刊物直接参与。撰文十四篇(第一回合三篇,第二回合十一篇。详见附录)。今见李曙明君又有《东西方音乐美学之比较研究——兼答蒋一民与蔡仲德等诸君》之新作问世(见《音乐研究》1990年1期。以下简称《比较》),此文是针对我的,我愿继续与之论辩。此可谓“和律论”之争的第三回合。一、“和律论”的致命弱点李君称其音乐观念为“‘音心对映’——‘和律论’。什么是“音心对映”?什么是“和律论”?李君自 The dispute with Law has lasted more than five years and has taken two rounds. In the meantime there are five people, six publications directly involved. Fourteen articles (three in the first round, eleven in the second round, see Appendix). Now see Li Shuming Jun there are “a comparative study of Eastern and Western musical aesthetics - and answer Jiang Yimin and Cai Zhongde and other dignitaries,” the new works come out (see “Music Research” 1990 1, hereinafter referred to as “comparison”), this article is For me, I would like to continue my argument. This can be described as the third leg of the war on the law. I. The Achilles heel of “Harmony Theory” Li Jun calls his concept of music “the phonetic mapping - the law theory.” What is “homophone” and “what is the law?” Jun self