摘要
本文是 2 0 0 1年笔者在香港城市大学举办的太平洋邻里协会周年会议中发表的论文的中文译本。全文以藤原师长 (1138- 1192 )编纂的两部乐谱集—《仁智要录》与《三五要录》为参考蓝本 ,探讨中国唐代(6 18- 90 7)的乐调在传入日本后 ,于日本平安时期 (794 - 1192 )后期的应用状况 ,其中以探求中国七声音阶理论在日本平安后期的变化为主。
The paper was originally written in English. It is first presented in the 2001 Pacific Neighborhood Consortium Annual Conference and Joint Meetings (City University of Hong Kong) and then published as an acrobat file in a CD Rom proceedings (see note 1 in the paper). It concentrates of the practice of Chinese Tang (618～907) modes in late Heian period (794～1192) Japan, by referring to two score sets compiled by Fujiwara no Moronaga (1138～1192). The two score sets are Jinchi Yoroku and Sango Yoroku. Examination of the usage of the Chinese modal degree names in late Heian Japan is the main focus of this paper.
出处
《黄钟（武汉音乐学院学报）》
北大核心
2002年第3期76-82,共7页
Huangzhong:Journal of Wuhan Conservatory of Music
