论文总结了辽东鼓乐乐曲、乐谱、乐器三个方面的乐调特征,并对辽东鼓乐的主奏乐器——唢呐、管子的调名进行了整理和解释。辽东鼓乐现存曲目从侧面反映出借字技法曾经流传于辽东鼓乐中,但作者调查结果显示,借字技法已经在当代鼓乐艺人中失传。此外,作者在辽东鼓乐中仅发现了五调朝元部分旋律与移调演奏相结合的“五调朝元不完全形式”。

This paper examines the system of pitch and mode as practiced in Liaodong Drum and Wind Music (Liaodong Guyue), analyzing its manifestations in the repertoire, notation, and instruments. It clarifies the terminology related to pitch and fingering systems used for the ensemble's leading melodic instruments, the suona and guanzi (double-reed pipe). While traces in the extant repertoire suggest the historical use of the Jiezi (“borrowed-tone”) technique, fieldwork confirms that this practice is no longer actively transmitted among contemporary musicians. Furthermore, the tradition preserves only an incomplete form of Wudiao Chaoyuan (“Five-Tone Cycle”), which integrates segments of its melodic pattern with transposition.