此文以潘士權《大樂元音》收錄的「五音五聲十三韻圖」作為研究，分別從音韻特點與樂律思想兩方面，闡明此書如何以樂律理念改造馬自援《等音》，藉以得知《大樂元音》的音韻性質，並兼談有關承襲《等音》韻圖框架的一系列文獻，如何改編《等音》原本。由於《大樂元音》被歸為經部樂類的專著，又以模仿《等音•十三韻圖》的形制而成，故過去鮮少被音韻學界所留意，透過上述的解讀，將能再次認識此書在明清等韻學史中的價值。

　　Through an analysis of Pan Shiquan’s 潘士權 mixed rhyme table “Wuyin Wusheng Shisanyuntu 五音五聲十三韻圖” published in his Dayue yuanyin 大樂元音, this paper aims to show how he began by imitating Dengyin 等音 but went on to successfully establish his own phonological theory. In addition, this paper also discusses that how the version in Dengyin was adapted in Qing Dynasty. Since Dayue yuanyin has long been classed as an ancient music book, it has rarely been noticed by the academic community. If we are able to properly interpret the dissemination of the imitative structure of rhyme tables in terms of the history of Chinese phonology, this will considerably support our understanding of the phonological features and background of Dayue yuanyin in Ming and Qing Dynasties.

《大樂元音》; 《等音》原刻本; 韻圖形制; 元音

Dayue yuanyin 大樂元音; Dengyin 等音; rhyme table structure; Yuanyin 元音 theory