作为一种唱奏或应和模式,相和有六种形式,但与相和歌的唱和模式联系最为紧密的当属“人与器乐相和”这一形式。相和歌是一个动态发展着的概念,在汉魏六朝人的认识里面,相和歌指的只是那十几首相和曲。今日我们所习称的清商曲概念,是唐宋人从北魏人的“大清商乐”概念中拆分出来的。在唐宋人的概念里面,相和歌主要是以演奏形制来划分的,清商曲主要是以音乐基调来划分的,但这两个概念并不是同一个逻辑层面的概念,故而清商三调既可以属于相和歌,又可以属于清商曲。唐宋人考虑到清商三调与相和曲的关系比清商三调与吴声西曲的关系更为密切,故而把清商三调归入到了相和歌门下。 As a form of singing, or singing, there should be six forms of singing and singing, but the most closely related to singing and singing of singing and singing is the form of “harmony between man and instrumental music.” Phase and song is a dynamic concept of development, in the Han and Wei dynasties people’s understanding, the phase of the song refers to only that dozen Prime Minister and song. The concept of qing qu song we learn today is separated from the concept of qing dynasty music by the people in Tang and Song dynasties. In the concept of Tang and Song dynasties, the main theme of the song and the song is divided by the form of performance. The Qing dynasty song is mainly divided by the tone of music. However, these two concepts are not the same logical concept. Therefore, It can belong to the phase song, but also can belong to qingshang song. The Tang and Song dynasties considered that the relationship between the Qing Dynasty’s tripartite tone and the phase harmony song was closer than that between the Qing Dynasty’s tri-tune and the Wu-sung song.