“律、调、谱、器”是中国传统乐学的核心内涵,也是掌握传统音乐本体特征的重要理论维度。受民族音乐学文化本位及行为研究的影响,文章将乐学研究的内容与民间乐师教学及表演的行为相结合,选择仍广泛使用工尺谱进行传承的福建南音为研究对象,探讨其丰富的乐学体系如何通过工尺谱不同记谱思维进行记录与传承,以及由此塑造的表演实践基础,提出构成其乐学内涵的两个行为层次和组成部分:其一,由乐谱及传承中形成的不可随意改变的规约性内容,其二,表演中创造性的可变因素,并认为乐师音乐实践中的行为方式也是认知与分析南音乐学体系特征的重要途径。

“Lü, diao, pu, qi” (temperament, mode, notation, and instruments) form the core conceptual framework of traditional Chinese music theory and serve as fundamental theoretical dimensions for understanding the intrinsic characteristics of traditional music. Influenced by the culture-oriented and practice-focused approaches of ethnomusicology, this study integrates the contents of theoretical research with the pedagogical and performative practices of folk musicians. Focusing on Fujian Nanyin, which is a tradition that continues to widely employ gongche notation in its transmission, the article explores how its rich theoretical system is documented and transmitted through different notational logics embedded in gongche notation, and how these in turn shape its performance practice. The study proposes that the theoretical content of Nanyin is constituted by two behavioral layers and components: first, the normative elements formed through notation and transmission, which are not to be altered arbitrarily; and second, the creative variables that emerge in performance. It argues that the behavioral patterns in musicians' practice also provide an important pathway for recognizing and analyzing the characteristics of Nanyin's theoretical system.