从“声音”到“呼吸”——论新诗音乐性的现代转换

发布时间：2018-01-21 22:12

本文关键词： 音乐性汉语诗歌诗歌形式当代诗歌雨中的马白螺壳古典诗歌生命经验新诗发展现代诗歌 　出处：《文艺研究》2017年03期 　论文类型：期刊论文

【摘要】：新诗诞生后的音乐性建设主要是在声音的韵律节奏层面进行,其基本思路是寻找现代汉语诗歌音乐性的普遍规律,这仍然是一种古典式的对音乐的理解方式。在新诗的发展过程中,特别是在20世纪80年代以后的先锋诗歌中,出现“呼吸”式的音乐,它追求的已经不是单纯的声音,而是由经验性的语言带动的声音,它主要在词与词的关系中获得,包含诗人对语言的自觉,而音乐性是其题中应有之义。从“声音”到“呼吸”,实现新诗音乐性的现代转换,当代诗歌中的音乐性问题不再是一个可以从具体的诗歌中剥离出来的普遍性问题,每一位诗人、每一首诗都在寻找最适合自身的音乐性。
[Abstract]:The musical construction after the birth of new poetry is mainly carried out at the level of rhythm and rhythm of sound, and its basic idea is to find the universal law of musicality in modern Chinese poetry. This is still a classical way of understanding music. In the development of new poetry, especially in the pioneer poetry after 1980s, "breath" of music appeared. What it pursues is not pure sound, but one driven by experiential language. It is mainly obtained in the relationship between ci and ci, including the poet's consciousness of language. From "sound" to "breath", it is necessary to realize the modern transformation of musicality of new poetry. The problem of musicality in contemporary poetry is no longer a universal problem that can be separated from specific poems. Every poet and every poem is looking for the most suitable music for himself.
【作者单位】：浙江师范大学人文学院;
【正文快照】： 相对于古典诗歌,现代汉语诗歌在语言体系上发生了根本性的迁移,不再能获得古典诗歌那样完美的音乐性。因而在新诗的发展历程中,音乐性的丧失对很多诗人来说是一个挥之不去的心结,一代又一代的诗人都在努力探讨和建构现代汉语诗歌的音乐性规范。对这一发展进程的梳理,学界已有

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