宋大曲与宋词关系研究

发布时间：2018-12-10 12:55

【摘要】：大曲,是中国古代音乐一种重要类型。从汉代清乐到隋唐燕乐,大曲一直作为庙堂、宴飨的大型器乐演奏的歌舞曲,繁荣于宫廷之中。到了宋代,大曲受社会需求变化等因素的影响,出现了摘遍。与此同时,宋大曲将其新的变化渗透到倚声而填的词中,促进了宋词的发展,并将其特色保存在了宋词中。本文通过对民间笔记、诗论词论、宋词词集及古代音乐史料的整理,阐述了宋大曲摘遍形成的曲体与宋词之间的关系。全文共分四章。第一章绪论介绍了宋大曲的研究现状,对本文研究的宋大曲的概念进行了界定,并在此基础上对宋大曲的结构进行了分析。第二章主要探究宋大曲摘遍的产生原因和摘遍对宋大曲的影响。宋代大曲形成摘遍特色,不仅是为了适应社会发展对音乐的要求,而且受大曲目遗失和乐工失传等客观因素影响。因为形成了摘遍特色,宋大曲的演唱方式开始以小唱为主,它的曲破、慢、令、近、引等结构开始从宋大曲中独立出来,单独演唱,对宋词产生了很深的影响。鉴于宋代大曲独立出来的结构与宋词之间存在密切关系,本章系统论述了宋大曲的慢近引等结构衍制入词,对词体发展产生影响的过程及意义。从音乐的角度客观全面地对词中的慢、令、近、引的来源及结构特色进行分析,试图从音乐的角度分析宋词慢、令、近、引的特色及宋大曲中的慢令近引衍制对宋词的影响。宋大曲对宋词牌丰富发展的影响主要体现在两个方面：一是体现在宋大曲蜕变而形成的词牌上,二是体现在宋大曲结构蜕变形成的新词牌上。第三章分析了宋大曲慢、近、引等结构入词而衍制成新的词牌,根据宋代演奏条件变化推出改编宋大曲是宋人制新曲的重要方法。大曲的遍数虽多,但因为大曲是与歌乐舞同类的大型演奏形式,而舞和乐有时候不适合填词,适合填词的主要是集中在入破部分。而曲破是宋大曲演唱时最激扬的部分之一,很适合在“醉后”、“酒中”等在酒宴之时演奏,起佐欢之用,这与宋词内容体式的“花间”及“杳渺宜修”之间有很大的关系。另外,随着词与音乐的逐渐分离,词谱慢慢出现,词由倚声填词渐渐转为倚谱填词。第四章对宋词情调与宋大曲关系进行了总结,通过分析宋大曲与宋词的情调关系,推论出宋大曲中不同的宫调及曲牌促进了宋词的唱者范围的扩大、内容的叙事性加强及表演内容的不断丰富,宋词的情调在宋大曲的影响下不断地丰富与独立。全文最后通过对宋大曲与宋词关系进行了阐述,从体制结构、词牌、情调三个方面对其关系进行总结,力求系统准确的梳理宋大曲与宋词关系的研究,为宋词与宋大曲的发展铺垫基础。
[Abstract]:Daqu is an important type of ancient Chinese music. From Qing music in the Han Dynasty to Yan music in the Sui and Tang dynasties, Daqu has always been a song and dance performed by large scale instrumental music, which flourished in the palace. In the Song Dynasty, Daqu was influenced by social demand and other factors. At the same time, the Song Daqu permeated its new changes into the ci poems which were filled in by leaning sound, promoted the development of Song ci, and preserved its characteristics in Song ci. Through the collation of folk notes, poetic theory, collection of ci poems of Song Dynasty and the historical data of ancient music, this paper expounds the relationship between the style of songs and the ci poems of Song Dynasty. The full text is divided into four chapters. The first chapter introduces the research status quo of Song Daqu, defines the concept of Song Daqu studied in this paper, and analyzes the structure of Song Daqu on this basis. The second chapter mainly probes into the causes of Song Daqu and its influence on Song Daqu. The formation of the Song Dynasty Daqu features is not only to adapt to the social development of the requirements of music, but also by the loss of the great track and music lost, and other objective factors. Because of forming the feature of picking all over, the singing way of Song Daqu began to be dominated by small singing, and its structure of breaking, slow, making, close, and so on began to separate from Song Daqu and sang alone, which had a deep influence on Song ci. In view of the close relationship between the independent structure of Daqu in the Song Dynasty and the Song ci, this chapter systematically discusses the process and significance of the influence of the structure of the Song Daqu on the development of ci style. From the angle of music, the author analyzes objectively and comprehensively the source, structure and characteristics of ci in the Song Dynasty, and tries to analyze the characteristics of the slow, the near, and the citation of the Song ci from the musical point of view, as well as the influence of the system of the slow order, the proximity and the quotation in the Song Daqu on the Song ci. The influence of Song Daqu on the rich development of Song ci card is mainly reflected in two aspects: one is on the ci board formed by the transformation of Song Daqu and the other is on the new word board formed by the structural transformation of Song Daqu. In the third chapter, the author analyzes the slow, near and quoted structure of Song Daqu and makes a new word sign. According to the changes of the performance conditions of Song Dynasty, the adaptation of Song Daqu is an important method for Song people to make new songs. Although there are many times of Daqu, because Daqu is the same large performance form as song and dance, and dance and music are not suitable for filling in words, the most suitable for filling in words is mainly concentrated in the broken part. Song break is one of the most exciting parts when Song Daqu sings, it is very suitable to play in the wine banquet, such as "drunk", "wine" and so on, which has a great relationship with the style of "flower room" and "Miao Yi Xiu" in the style of Song ci. In addition, with the gradual separation of words and music, the lexical spectrum appeared slowly, and the words gradually changed from the sound of words to the words. The fourth chapter summarizes the relationship between Song ci style and Song Daqu. By analyzing the relationship between Song Daqu and Song ci, we infer that the different palace tune and song card in Song Daqu promote the expansion of the scope of Song ci singer. The narrative content is strengthened and the performance content is constantly enriched, and the sentiment of Song ci is enriched and independent under the influence of Song Daqu. At the end of the paper, the author expounds the relationship between Song Daqu and Song ci, summarizes the relationship from three aspects: system structure, ci sign and sentiment, and tries to make a systematic and accurate research on the relationship between Song Daqu and Song ci. It lays the foundation for the development of Song ci and Song Daqu.
【学位授予单位】：广西师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：I207.23;J609.2

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