南管音階以五聲音階為基礎，但是部分管門有大七度音程，而且二個音擁有同一個名稱，如五空管的乂和，四空管的六和、和等。換句話說，其被認為是同一個音。其他樂種很少有這種現象。
筆者借用了古琴音樂等中國古代音樂的「均」之概念。雖然不能獲得直接的答案，但是分析這些大七度在實際樂曲裡的運用時，也有很大的幫助。
為了詮譯上述大七度問題，筆者亦試圖在中國以外的傳統音樂中尋找類似的用法。當初以為日本雅樂等比較有系統的樂種可能亦有大七度的問題，但最後找到的卻是日本民歌。
本論文所界定的範圍，是以南管的音階結構、「管門」及大七度問題為主。為了進一步討論大七度問題，並將南管與含有大七度的日本民歌進行比較分析。研究方法以「均」此一概念為主，試圖探討上述問題。

A kind of Chinese traditional music Nan-guan (南管) is disseminated in Fu-jian (福建) Province in China and Taiwan, Philippine, and Malaysia in which overseas Chinese from Fu-jian reside. Although a considerable amount of researches have been made on Nan-guan, the scale system remains almost untouched. Former researches described the scale system of Nan-guan only in their native ways, and it was classified into four types by Guan-men (管門) .
In reference to Chinese music theory (especially of the Gu-qin (古琴) music) , Western musicology and the writer’s experience of studying Nan-guan for 3 years, the writer try to examine and classify Guan-men. First of all, the writer examined Chinese word diao (調) which is usually used in meaning of tonos, key, mode, melody and so on, thus the writer clarify diao in aspect of scale system; diao should be divided in tonos, key and mode, and hypothesize guan-men of Nan-guan is equivalent to tonos.
Secondly, the author analyzed the tonos, key and mode of each guan-men and figure out the amount and percentage. As a result of analysis, three types of guan-men: si-kong-guan (四空管), wu-liu-si-cei-guan (五六四管) and bei-si-guan (倍士管) correspond to one tonos respectively. The rest, wu-kong-guan (五空管) contrary would be divided into three kinds of tonos.
The scale of Nan-guan is generally based on pentatonic (do re mi sol la), but in two guan-men, wu-kong-guan and si-kong-guan, do in certain pitch descend minor second and is replaced with si and comprises major seventh with lower do. In these two guan-men, there are two sets of major seventh each, at G3-#F4 and C4-B4 in wu-kong-guan, and F4-E5 and C5-B5 in si-kong-guan. Former researches have not tried to explain these phenomena but merely indicate. With reference to melodic structure of Japanese folk song that similarly include major seventh in the scale, it can be explained by the assumption that scale of Nan-guan has fifth-unit in addition to usual octave-unit as units of scale system.

一、南管樂譜
陳焜晉、張素貞編
1995　南管移植新編　臺中縣霧峰鄉　臺灣省音樂文化教育基金會
林霽秋編
1980　南譜十三腔　臺北市　學藝出版社
（原為：1921　泉南指譜重編　上海市上海文瑞樓書莊）
林素梅，卓聖翔編
2001　南管指譜詳析　高雄市　鄉音出版社
劉鴻溝編
1953　閩南音樂指譜全集　manila　菲律濱金蘭郎君社
1973　南管古樂五線譜全集　臺北市　中華國樂會
呂錘寬編
1987　泉州弦管（南管）指譜叢編　臺北市　行政院文化建設委員會
二、中文部分
呂錘寬撰
1980　泉州絃管(南管)研究　臺北市　國立臺灣師範大學音樂研究所
碩士論文
1982 泉州絃管(南管)研究　臺北市　學藝出版社
1983　南管記譜法概論　臺北市　學藝出版社
1986　臺灣的南管　臺北市　樂韻出版社
沈冬撰
1986　南管音樂体製及歷史初探　臺北市　臺灣大學
（原為1983年度國立臺灣大學中國文學研究所碩士論文）
王嘉寶撰
1984　南管器樂曲的分析　臺北市　國立臺灣師範大學音樂研究所碩士論文
王耀華、劉春曙撰
1989　福建南音初探　福州市　福建人民出版社
三、日本民歌樂譜
金井喜久子編（Kanai, Kikuko）
1954. 7　琉球の民謠　東京　音楽之友社
町田嘉章、浅野建二編（Machida, Kasho. Asano, Kenji）
1960. 9　日本民謠集　東京　岩波書店
　1962. 1　わらべうた　東京　岩波書店
四、外文部分
Sachs, Curt
1943　The Rise of Music in the Ancient World, East and West. New York: W. W. Norton & Company.
1961　 The Wellsprings of Music. Edited by Jaap Kunst. Hague: Martinus Nijhof.
東川清一著（Tokawa, Seiichi）
1987. 11　音楽理論を考える　東京　音楽之友社
1990. 3　 日本の音階を探る　東京　音楽之友社
東川清一、陳応時著（Tokawa, Seiichi. Chen, Ying-shi）
1996. 3　音楽の源へ　陳応時部分村越貴代美譯　東京　春秋社
渡辺富美雄、松沢秀介編（Watanabe, Fumio. Matsuzawa, Shusuke）
1979. 3 子守歌の基礎的研究 東京 明治書院
五、其他
徳丸吉彦（Tokumaru, Yoshihiko）
2001. 3. 29　Towards a re-evaluation of invisible music theories.
演講於國立臺灣大學