姜白石俗字谱歌曲研究
发布时间：2018-07-18 20:51
【摘要】：《白石i道人歌曲》是南宋姜夔所撰的词调歌曲著作,书中保存了歌曲共102首(据张奕枢刻本)之多,留存有俗字谱、减字谱、律吕字谱三种不同的记谱法,特别是十七首俗字谱歌曲,是两万余首宋词作品中仅留下曲谱的词调歌曲,成为中国音乐史研究中难得的宝贵史料。因此,对白石道人十七首词调歌曲的记谱符号进行深入研究,搞清楚其真实面目是很有必要的,这项研究在我国古代文学史和音乐史等领域中都具有重要的价值。 本文包括七章及引言、参考文献、后记等部分,内容涉及到姜白石俗字谱歌曲的历史考察、歌曲注释、姜白石俗字谱歌曲的研究现状、谱字符号的考察、校勘以及符号、宫调、译谱诸方面的研究。每一章重点研究白石道人俗字谱歌曲的一个或几个方面,步步深入,从俗字谱歌曲的“外围”到曲谱本身进行全面的研究,提出了不少新的观点。本文的最终结果是对姜白石的十七首俗字谱歌曲进行新的译谱,因此,对俗字谱的校勘、注释以及对谱字、符号、宫调等诸方面的考察研究皆为译谱的基础。第一章主要对《白石道人歌曲》的作者、内容、版本等方面进行梳理,阐述姜白石的创作成就,考察《白石道人歌曲》的总体内容及版本源流。第二章对十七首俗字谱歌曲的文字部分进行详细的注释,考察俗字谱歌曲的创作背景及歌词内涵。第三章是关于姜白石俗字谱歌曲的研究历史与现状的研究,对符号、宫调、音高标准、用音等各方面的研究成果分别进行细致的梳理,判断各研究的合理性,得出本文的初步结论。第四章对姜白石俗字谱歌曲所用的谱字及符号进行全面的统计考察,总体把握各谱字、符号在作品中的运用情况,并进行细致的校勘,为准确泽谱提供可靠的版本。第五章关注于姜白石俗字谱歌曲的符号研究。目前对姜白石俗字谱歌曲的研究,争论最大亟需解决的问题就是关于“符号”的研究,这是白石道人俗字谱歌曲解泽的关键。本文通过考证,认为姜白石全部俗字谱歌曲中所使用的符号共有六种,本章以文献史料为依据,注重“实证”的研究方法,对此六种符号进行了深入的探究。第六章考证了白石道人俗字谱歌曲所用宫调,从曲谱本身所用谱字、结音及文献记载等方面考证宫调的实质。第七章是在前六章研究的基础上,对白石道人俗字谱歌曲进行全面译解。本文用五线谱记谱,在节拍节奏上,以“一字一音”为基础,采用“均拍”的观点划分“小节”,力求接近白石道人俗字谱歌曲的原貌。
[Abstract]:"Bai Shi I Taoist Song" is a ci song written by Jiang Kui in the Southern Song Dynasty. In the book, there are 102 songs (according to Zhang Yi-shu 's inscriptions), and there are three different notation methods: the common character spectrum, the subtraction spectrum, and the law Lu character spectrum. In particular, Seventeen folk songs are the only songs in more than 20,000 Song ci works, which have become a precious historical data in the study of Chinese music history. Therefore, it is necessary to make a thorough study on the notation symbols of 17 ci songs of Baishi Taoist people, which is of great value in the field of ancient literature and music history of our country. This article includes seven chapters and preface, references, postscript and so on. The content involves the historical investigation, the song annotation, the research present situation of the Jiangbishi vulgar character spectrum song, the investigation of the spectrum character symbol, the collation and the symbol, the palace tune, etc. The study of translation. Each chapter focuses on one or several aspects of the Baishi Taoist folk song, step by step, from the "periphery" of the folk music to the comprehensive study of the composition itself, and puts forward a lot of new points of view. The final result of this paper is to make a new translation of Jiang Baishi's 17 songs. Therefore, the collation, annotation, and the investigation and study of the spectrum, symbols, gong diao and so on are all the bases of the translation. The first chapter mainly combs the author, content and edition of Baishi Taoist Song, expounds Jiang Baishi's creation achievement, and inspects the overall content and edition origin of Baishi Taoist Song. In the second chapter, the writing background and lyric connotation of 17 songs are discussed in detail. The third chapter is about the research history and the present situation of Jiang Baishi's vulgar characters and songs. The research results of symbol, palace tune, pitch standard, tone and so on are carefully combed to judge the rationality of each research. The preliminary conclusions of this paper are obtained. The fourth chapter makes a comprehensive statistical investigation on the spectrum characters and symbols used by Jiang Baishi's vulgar characters and songs, as a whole, grasps the application of each spectrum character and symbol in the works, and carries on the careful collation, which provides the reliable version for the accurate spectrum. The fifth chapter focuses on the study of the symbol of Jiang Baishi's popular character. At present, the research on the song of Jiang Baishi's vulgar character spectrum is the most urgent problem that needs to be solved, which is the key to the explanation of Baishi Taoist's vulgar character song. Through textual research, this paper holds that there are six kinds of symbols used in Jiang Baishi's songs. This chapter is based on the historical documents and focuses on the research methods of "empirical", and makes a deep exploration of these six symbols. The sixth chapter studies the essence of palace tune used by Baishi Taoist folk song, from the aspects of the spectrum itself, the closing tone and the literature records. On the basis of the first six chapters, the seventh chapter is a comprehensive interpretation of the Baishi Taoist folklore. Based on the rhythm of "one word, one note" and the viewpoint of "even pat", this paper uses the staff spectrum to divide "section", in order to be close to the original appearance of the Baishi Taoist and folk characters.
【学位授予单位】：上海音乐学院
【学位级别】：博士
【学位授予年份】：2010
【分类号】：J614
本文编号：2132737
[Abstract]:"Bai Shi I Taoist Song" is a ci song written by Jiang Kui in the Southern Song Dynasty. In the book, there are 102 songs (according to Zhang Yi-shu 's inscriptions), and there are three different notation methods: the common character spectrum, the subtraction spectrum, and the law Lu character spectrum. In particular, Seventeen folk songs are the only songs in more than 20,000 Song ci works, which have become a precious historical data in the study of Chinese music history. Therefore, it is necessary to make a thorough study on the notation symbols of 17 ci songs of Baishi Taoist people, which is of great value in the field of ancient literature and music history of our country. This article includes seven chapters and preface, references, postscript and so on. The content involves the historical investigation, the song annotation, the research present situation of the Jiangbishi vulgar character spectrum song, the investigation of the spectrum character symbol, the collation and the symbol, the palace tune, etc. The study of translation. Each chapter focuses on one or several aspects of the Baishi Taoist folk song, step by step, from the "periphery" of the folk music to the comprehensive study of the composition itself, and puts forward a lot of new points of view. The final result of this paper is to make a new translation of Jiang Baishi's 17 songs. Therefore, the collation, annotation, and the investigation and study of the spectrum, symbols, gong diao and so on are all the bases of the translation. The first chapter mainly combs the author, content and edition of Baishi Taoist Song, expounds Jiang Baishi's creation achievement, and inspects the overall content and edition origin of Baishi Taoist Song. In the second chapter, the writing background and lyric connotation of 17 songs are discussed in detail. The third chapter is about the research history and the present situation of Jiang Baishi's vulgar characters and songs. The research results of symbol, palace tune, pitch standard, tone and so on are carefully combed to judge the rationality of each research. The preliminary conclusions of this paper are obtained. The fourth chapter makes a comprehensive statistical investigation on the spectrum characters and symbols used by Jiang Baishi's vulgar characters and songs, as a whole, grasps the application of each spectrum character and symbol in the works, and carries on the careful collation, which provides the reliable version for the accurate spectrum. The fifth chapter focuses on the study of the symbol of Jiang Baishi's popular character. At present, the research on the song of Jiang Baishi's vulgar character spectrum is the most urgent problem that needs to be solved, which is the key to the explanation of Baishi Taoist's vulgar character song. Through textual research, this paper holds that there are six kinds of symbols used in Jiang Baishi's songs. This chapter is based on the historical documents and focuses on the research methods of "empirical", and makes a deep exploration of these six symbols. The sixth chapter studies the essence of palace tune used by Baishi Taoist folk song, from the aspects of the spectrum itself, the closing tone and the literature records. On the basis of the first six chapters, the seventh chapter is a comprehensive interpretation of the Baishi Taoist folklore. Based on the rhythm of "one word, one note" and the viewpoint of "even pat", this paper uses the staff spectrum to divide "section", in order to be close to the original appearance of the Baishi Taoist and folk characters.
【学位授予单位】：上海音乐学院
【学位级别】：博士
【学位授予年份】：2010
【分类号】：J614
【引证文献】
相关期刊论文 前3条
1 何肖;;近十年姜夔研究综述[J];语文学刊;2012年10期
2 伍三土;王小盾;;《白石道人歌曲》十七首词乐旁谱新校[J];音乐探索;2013年02期
3 杨子;;浅论词与乐的完美结合——以姜夔自度曲为例[J];民族音乐;2013年05期
相关博士学位论文 前3条
1 王先艳;论民间合奏乐种的传承方式[D];中央音乐学院;2012年
2 于韵菲;《愿成双·赚》谱研究[D];上海音乐学院;2013年
3 伍三土;宋词音乐专题研究[D];扬州大学;2013年
相关硕士学位论文 前3条
1 刘茜;探究中国古诗词艺术歌曲演唱中的“依字行腔”[D];西南交通大学;2013年
2 陆玉梅;中学生诗词吟唱教学的研究[D];上海师范大学;2013年
3 杨子;姜白石词调歌曲研究综论[D];河南大学;2013年
，本文编号：2132737
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