古代曲谱序跋研究

发布时间：2018-03-16 07:03

  本文选题：曲谱序跋　切入点：史料研究　出处：《河北大学》2016年硕士论文　论文类型：学位论文

【摘要】：曲谱序跋内容丰富,数量可观,是研究曲谱和曲学理论的重要文献资料。本文采用广义的序跋概念,研究范围包括序、跋、题词、凡例、总论等曲谱非正文部分的内容。本文共搜集到古代曲谱三十七部,序跋不拘版本,共七十八篇,凡例二十五种,论说等十四篇。针对序跋的内容性质的不同,本文分为史料和理论两部分进行研究。在史料研究过程中,根据曲谱序跋所提供的信息分为曲谱编纂信息、曲谱谱系信息和散佚曲谱信息三个方面进行研究。在曲谱编纂信息中,根据曲谱序跋,推知出曲谱编纂时间、背景和目的,作者生平事迹以及曲谱流传过程中的版本和刊刻信息。我国古代曲谱存在北曲和南曲两个系统,这两个系统的曲谱之间,各自存在着继承与发展的关系,本文认为《中原音韵》《南词旧谱》《南词全谱》等早期曲谱的编纂是为填词制曲者订立规范,为作品的创作定规范;清以后的曲谱则又因曲谱芜杂,为曲谱订规范。曲谱序跋中还提到了一些今已散佚的曲谱信息,可辑散佚曲谱有:《九宫》、《十三调》、《九宫十三调》、《骷髅格》、《墨憨斋词谱》《随园谱》等,这些曲谱的发现,丰富和完善了曲谱史。在曲谱序跋理论研究中,序跋包含丰富的曲学音乐和格律理论,涉及宫调、板眼、工尺、句韵、衬字、犯调等方面,这些理论直接推动了我国古代戏曲格律、音乐理论的发展。序跋中还提到了作者的选曲标准有所不同,体现了曲谱作者不同的理论主张。通过对我国古代曲谱序跋系统地梳理和研究,又发现其所含三个特点:序跋作者极力强调曲谱的实用性;序跋作者非常注重曲谱的传承作用;序跋作者强调曲谱创作要结合实践。
[Abstract]:The preface and postscript of qu spectrum is rich in content and considerable in quantity. It is an important document for studying the theory of qu spectrum and qu science. This paper adopts the concept of preface and postscript in a broad sense, including preface, postscript, inscription, etc. In this paper, we collected 37 pieces of ancient music, 78 preface and postscript versions, 25 examples, 14 theories and so on. According to the nature of preface and postscript, the content of preface and postscript is different. This paper is divided into two parts: historical data and theory. In the course of historical data research, according to the information provided by the preface and postscript of the qu spectrum, it is divided into the compilation information of the qu spectrum, In the compilation information of qu spectrum, according to the preface and postscript of the music spectrum, the author deduces the time, background and purpose of the compilation of the music spectrum. The author's life story and the edition and engraving information in the course of the spread of the musical composition. There are two systems in the ancient Chinese music: the Northern qu and the Southern qu, and the relationship between the two systems is inheritance and development. This paper holds that the compilation of early musical compositions, such as "Central Plains Phonology", "the Old Spectrum of Southern ci", "Southern ci complete Spectrum", and so on, was to establish a standard for the composer of the lyrics and to set a standard for the creation of the works, while the composition of the songs after the Qing Dynasty was complicated by the music composition. It is also mentioned in the preface and postscript of the qu that some lost music information has now been lost. The missing compositions can be compiled as follows: < Jiugong >, < 13 tone >, < Jiugong 13 tone >, < Skeleton >, "Mo Han Zhai ci Chronicle", "Suiyuan Spectrum", and so on. The discovery of these songs can be made. It enriches and perfects the history of qu spectrum. In the theoretical study of preface and postscript of qu, preface and postscript contain abundant musical and rhythmic theories of qu studies, including the aspects of palace tune, eye eye, ruler, sentence rhyme, lining character, infringing tone, etc. These theories directly promoted the development of ancient Chinese opera and music theory. The preface and postscript also mentioned that the author's criteria for selecting music were different. By systematically combing and studying the preface and postscript of ancient Chinese music, it is found that the preface and postscript contain three characteristics: the preface and postscript emphasize the practicability of the composition, the preface and postscript attach great importance to the inheritance of the composition; The author of preface and postscript emphasizes that the composition of music should be combined with practice.
【学位授予单位】：河北大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：I207.37
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本文编号：1618818