文章形成自笔者近年在中央音乐学院为传统音乐研究及民族音乐学方向的研究生讲授传统音乐记谱法课程的内容。文章就中国传统民歌记谱中具“执牛耳”意义的调式判断问题进行了全面、深入的探讨。涉及五声性乐调的调式判断、含中立音之特殊五声性乐调的调式判断、五声性乐调移宫现象的调式表达、半五声性乐调的调式判断及表达四个方面。将传统理论与具体音乐实践相结合，并尽可能对一些长期未达成共识的论题提出己见。意在为亟待完善的中国传统音乐记谱体系贡献一份经验，更希冀对那些正在奔赴广袤田野的年轻学子们有所裨益。

The article is formed from the content of the traditional music notation course taught by the author to graduate students in traditional music research and ethnomusicology at the Central Conservatory of Music in recent years.The article comprehensively and deeply explores the issue of mode identification,which plays a leading role in the notation of traditional Chinese folk songs.There are four aspects involved in such discussion:the identification of pentatonic tunes,the identification of special pentatonic tunes containing neutral tones(outside the pentatonic tones),the expression of pentatonic tunes with the shifting tone of Gong(Do),and the identification and expression of incomplete pentatonic tunes.This article combines traditional theories with specific music practices and attempts to provide opinions on some long-standing topics that have not reached consensus.The intention is to contribute experience to the urgently needed improvement of the Chinese traditional music notation system, and more importantly,to benefit young students who are heading towards the vast fields.