【摘要】 本文系作者《黎英海的五声综合调式理论》一文的下篇。文中在上篇[1 ] 所作阐述的基础上 ,进一步从我国民族音乐思维的角度观察五声综合调式现象 ,论述了五声综合调式理论形成的实践基础 ,结合已有的三种音阶观念对五声综合的音阶本质予以辨析 ,分析了对该理论的不同认识及其原因。文章指出 ,五声综合调式理论是对我国民族音乐实践中客观存在的一种五声性思维创造的深入发现和高度概括 ,对其作出进一步的研究 ,无论是对我国民族音乐规律的深入把握 ,还是对我们长期以来在传统宫调、民族调式方面一些理论问题的澄清、解决 ,均显得意义重大。更多还原

【Abstract】 This is the 2nd half of the author’s <The Theory of Integrated Pentatonic Modes by Li Yinghai>. Based on the expatiation in the 1st half, the author makes more observation on the pentatonic modes. The author talks about the practical basis on which the theory came into being. He also discriminates is with the other three scale-concept, analyses on the reason why people hold different cognitions on the theory. The author believes that the theory of integrated pentatonic modes is the deeper discovery and summary of people’s compositions with pentatonic ideas, which objectively exists in our daily music practice. The research could help to grasp the regulations in our national music, and to clarify such problems as the traditional Gong Mode or national modes.更多还原