宫调

一种体系两个系统&论中国传统音乐理论中的宫调

On the gong diao of Chinese Traditional Music Theory

唐代大曲宫调理论的形成及其对东亚乐调发展的影响

Mode Formation of Daqu in Tang Dynasty and Its Influence on East Asia

元剧作家对宫调的习惯选择及其审美心理

The Gong Tunes ' Choice Habit and the Aesthetic Psychology of the Yuan Dynasty Dramatist

中唐时期出现的《无限曲》代表了一种新兴的音乐艺术形式，它的特点是采集不同宫调的多支乐曲的片断组成一支新曲。

Infinite Melodies , which appeared in the Middle Tang Dynasty , was a new form of arts .

三是第一次将自宋至元的燕乐曲子按宫调进行了仔细的梳理。

Thirdly , it has put Yan Music in order from the Song Dynasty to the Yuan Dynasty attentively .

他们往往在一套内运用不同宫调的曲牌，用转变调性造成音乐的对比、发展。

They were frequently inserting into the sets qu tunes of different gong diao , creating musical contrast and development through tonal interchanges .

在金、宋时期，还有叙事民谣叫做诸宫调或宫调，通过说唱可以讲述很长的故事。

In the Jin as well as in the Song , there were also dramatic ballads known as zhugongdiao orgongdiao . By songs and recitations , they told long stories .

大三度&宫角关系，在以往的传统宫调、调式音阶以及旋宫转调理论中均有过相关的论述。

In the old theory of Chinese traditional modes of music , mode scales and modulation , the relationship between Gong and Jiao ( major third ) has been expounded .

筝调实践所反映出来的两个侧重，印证了中国宫调理论中“调系”与“均系”的并存。

Meanwhile , the two systems are reflected in the process of practice of Zheng tones , which prove the existence of Diaosheng and Yungong system in the Chinese Gongdiao theory .

此一章重要者，归纳出六宫之说不确，杂剧虽用宫调有九，然常用者四宫二调而已。

This chapter is important , summed up the previous six gong is not correct . Although the Yuan Yuan drama use about nine , but also used only four gong two diao .

会社乐器组合及乐曲从传统国家意义而来，其乐器形制、宫调系统既存在相通一致性，亦在鼓吹乐民间存在的发展过程中产生一定的变异。

Clubs combination of musical instruments and music from the traditional " national " significance from its instrument shape , Palace conditioning system there are both similarities consistency , advocating folk music development process variation .

并对它们的演出仪制、祭祀对象、服饰道具、乐歌宫调和舞者身份、演出场合都作了明确的规定。

He also drew specific rules in their performing scale , subject of the sacrifice , clothes and props , the music and their tones , the status of dancers , and the performing occasions .

从元杂剧公案戏的音乐、装扮、舞台表演三个方面入手，关注到了以前学界较少关注的戏曲舞台实际演出领域，对当时元杂剧音乐的宫调、板拍进行了考察。

From the Yuan Drama music , dress , stage performance of the three-pronged approach , attention to the opera stage before the actual performance in the field of academia less attention on the music tune of the Yuan Drama was transferred , the board took were studied .