从琵琶乐到诗中乐:元稹声诗的转换

发布时间：2018-06-28 13:50

本文选题：声诗 + 胡乐　；参考：《文艺研究》2017年04期

【摘要】：元稹的乐学造诣精深,他不仅与众多乐师、歌工私谊笃厚,而且熟知多种乐曲、乐器及旋宫转调等乐学理论。他笔下琵琶乐与诗中乐的衔接纽带是情感。基于吐蕃东渐、胡乐舞流行、元稹东台司宪后一再被贬的实际情况,他笔下的琵琶乐亦多表现出忧时伤己的悲情倾向。描写是元稹笔下琵琶乐到诗中乐转换的基本方式,可分为外在感观描写、内在情感刻画两种类型。听觉、视觉等感观描写,将不可触摸的琵琶乐音符变成可听、可见的具象,琵琶乐遂形象、生动。侧面烘托、情感接力、意境转换等情感的间接刻画,完成琵琶乐情感到诗中乐情感的微妙转换,乐情与诗情遂融会贯通、浑然一体。以情感为纽带、描写为转换方式,是唐声诗中诗乐转换的一种定式。
[Abstract]:Yuan Zhen's musical learning is profound. He not only has a close relationship with many musicians and singers, but also knows many kinds of music, musical instruments and musical theories. The bond between the pipa music and the music in his poems is emotion. Based on the actual situation that Tubo gradually to the east, Hu Yue dance popular, Yuan Zhen Dongtai Si Xian repeatedly demoted, his pipa music also showed a sad tendency to worry and hurt himself. The description is the basic way to transform the pipa music to the music in the poem written by Yuan Zhen. It can be divided into two types: external feeling description and inner emotion description. Auditory, visual and other sensory description, will be untouchable pipa notes into audible, visible concrete, pipa music image, vivid. The indirect depiction of emotion such as side foil, emotional relay and artistic conception transformation completes the subtle transformation from pipa emotion to poem music emotion. With emotion as the link and description as the mode of transformation, it is a pattern of poetry and music transformation in Tang Sheng poetry.
【作者单位】：安徽师范大学中国诗学研究中心;
【基金】：教育部人文社科基金项目“胡乐对唐诗创作的影响研究”(批准号:12YJC751036)成果
【分类号】：I207.22

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