析論中樂理論之一均三宮

A Study on One Yuns Three Gongs of Chinese Music Theory

《宋史˙律曆四》文章開頭書明「釋十二均」，且全文皆在解釋十二宮調，可見此處所謂十二宮調與十二均，有通假之意。均與自然音階具有相同的表象，亦即──按照高低排列七個鄰接的五度相生樂音。一均三宮的論述在原本的自然音階與個別的調式音階之間，多疊架一層聲名組織，並據以論述三種樂種的聲名關係，因此，用以解釋樂音組織十分便利。但如果沒有務實地區分清楚現象界的差異，則只能視為純理論的探討。
當中西音樂相遇時，各種概念的衝突與融合，必然激發出術語的對應、假借、引用等狀況，從而反映在慣用的術語之上。因此，早期出現用轉調、轉調式的說法來解讀古樂的樂音組織。今日，大陸學界或以一均三宮解釋古樂。若排除西樂理論名稱，音樂中的各樂音自有其倫理架構，同一樂音架構，旋宮至另一音高，西方稱為轉調；同一架構樂音架構，改奉另一音為首，西方稱為轉調式。然而，一均三宮實質上是三種樂音倫理體系，不論是旋宮或是改變樂音的倫理關係，都加上了一個思維的框架，等於在同一樂音架構上建立三套倫理關係。

The history book of Song keeps a record of the explanation of 12 Yuns. It called the 12 Gong-diaos. Today, someone use the name of the major scale to call it. Yun and diatonic scale, both have the same structure with the natural appearance, which simply arranged in accordance with the level of five degrees relative to the adjacent seven tones of Natural. One Yuns three Gongs, that is just increases a name system between the diatonic and the scales of modes.
What is the Three Gongs? It is three kinds of music with the same name system. This way to explain the relationship between the tones is very convenient. However, if in fact there is no clear distinction from the phenomenon. "The three Gongs of a Yun" is just a theoretical discussion.
When the Chinese music met the Western music, the concepts of conflict and integration, will inevitably stimulate the corresponding terms, because under the terms of reference and other conditions, thus reflecting on the usual terms. This is why I have to explain "diao（調）, tonality, mode, scale, Somization syllable and pitch name of the music alphabet." And from the interpretation of Yun and Gongdiao begin to further explore the ethical system of tones.