乐府“相和歌辞”研究

发布时间：2018-05-18 12:56

  本文选题：乐府 + 相和歌辞　； 参考：《南京师范大学》2007年博士论文

【摘要】： 乐府“相和歌辞”研究是中国古代音乐史和文学史上值得研究的重要一环。本文从文献学、音乐学和文学三个方面，对乐府中“相和歌辞”一类进行了较为细致的探讨研究。 第一章引论，通过梳理历史资料，对“相和歌辞”作出合理的界定。在此基础上，比较“相和歌”与“清商乐”、“相和大曲”与“清商大曲”两组概念的差异，进而概括出“相和歌辞”的三大特征：世俗性、写实性与谐和性。 第二章，，通过对郭茂倩《乐府诗集》“相和歌辞”部分的文献考察，明确了郭茂倩的收录标准。再从相和歌辞的曲目编排出发，将之与释智匠《古今乐录》、沈约《宋书·乐志》、郑樵《通志·乐略》、吴兢《乐府古题要解》进行比较，认为郭茂倩在征引资料方面以《古今乐录》为主，兼及其他，音乐因素与诗旨分析并重。在此基础上，对《乐府诗集》“相和歌辞”部分进行曲目和同题曲辞的补录以及同出异名情况的整理。 第三、四章从音乐学的角度对相和乐歌的地域特征和流变情况进行研究。第三章先从《汉书·艺文志》所载歌诗目录入手，将这些地域的歌诗与地域文化圈进行对应，初步判断出京城附近、山东地区、江南地区等是乐府机构采风所涉的地域。然后对现存相和乐歌进行地域特征考察，分析了不同地域歌辞的风格差异，如山东以舒缓柔和为主，荆楚以促迅急迫为主，关中以慷慨悲切为主等。第四章探讨相和乐歌在魏晋南北朝时期的流变。探讨曹魏时期相和歌辞的内容所涉及的三个方面：一是俗乐机构清商署的性质。二是文人制作与乐工改制并举的歌辞生成方式。三是清商三调歌诗、清商大曲在艺术形式上的创新。两晋南北朝时期则围绕相和乐歌的流变展开研究，这一时期除了少量作品在上层贵族中仍被演唱，用于娱乐；多数已由乐工收集整理，用于宫廷礼仪。最后依据文献资料，整理出南朝流传的相和歌曲目。 第五、六章是从文学的角度对相和歌辞的主题模式和文学影响进行研究。第五章以相和歌辞中的系列诗题为研究对象，集中探讨艳情、生命迁逝、行役怀乡三类主题模式的生成与流传，以期把握文人拟作的发展脉络。具体解析艳情主题下《陌上桑》、《江南》、《楚妃吟》，生命迁逝主题下《长歌行》、《短歌行》、《野田黄雀行》，行役怀乡主题下《门有车马客行》、《上留田行》、《东门行》等系列诗题的流变。第六章先从整体上探讨其对汉末魏晋以来诗歌的影响，然后再具体探讨相和歌辞中的“行”题歌诗对七言歌行体的定型所起的奠基作用。 结语，从俗、雅乐的关系和文学拟作传统的形成两个方面对乐府中“相和歌辞”作简要的归纳总结。
[Abstract]:The study of Xiang he Song ci in Yuefu is an important part worth studying in the history of ancient Chinese music and literature. This paper, from three aspects of philology, musicology and literature, makes a detailed study on the category of "Xiang he Song ci" in Yuefu. The first chapter introduces the reasonable definition of Xiang he Song ci by combing the historical data. On this basis, this paper compares the differences between Xianghe Song and Qing Shang Music, Xianghe Daqu and Qing Shang Daqu, and then generalizes the three characteristics of Xiang he Song ci: secular, realistic and harmonious. The second chapter, through the literature review of Guo Maoqian's collection of poems of Yuefu, Xianghe Song ci, clarifies Guo Maoqian's standard of collection. Then, starting from the arrangement of the songs of Xiang and he, we compare them with the works of the Scholars, Shen Yue, Song Shu and Le Zhi, Zheng Qiao, Tongzhi, and Wu Jing, who want to solve the ancient problems of Yuefu. It is considered that Guo Maoqian's cited data are mainly "ancient and modern music records", and other, both musical factors and poetic tenets are analyzed equally. On the basis of this, the part of Xiang he Song ci of Yuefu Poems is supplemented with the songs of the same title and the synonyms are arranged. Chapter three, chapter four studies the regional characteristics and evolution of Xianghe song from the perspective of musicology. The third chapter begins with the catalogue of songs and poems contained in the Book of Art and Chronicles of the Han Dynasty, which corresponds to the regional cultural circle, and preliminarily finds out that the areas near the capital, Shandong and Jiangnan are the regions involved in the collection of wind by Yuefu institutions. Then the author investigates the regional characteristics of the existing phases and songs, and analyzes the style differences of the songs in different regions, such as Shandong to ease and soften, Jingchu to promote rapid urgency, Guanzhong to generous and sad, and so on. Chapter four discusses the evolution of Xianghe Song in Wei, Jin, Southern and Northern dynasties. This paper discusses three aspects involved in the content of Xiang he's songs in the period of Cao Wei: first, the nature of the Qing Dynasty Office of Folk Music. Second, the literati production and music industry reform of the creation of songs. Third, the three tune songs of Qing Dynasty and the innovation of Qing Shang Daqu in art form. During the Jin Dynasty and the Northern and Southern dynasties, the study was carried out around the changes of the phases and songs. In this period, except a few works were still sung in the upper aristocrats, they were still used for entertainment; most of them had been collected and arranged by the musicians and used for court etiquette. Finally, according to the literature, collate out the spread of the Southern Dynasty Xianghe songs. The fifth and sixth chapters study the theme pattern and literary influence of Xiang he's songs from the literary point of view. The fifth chapter focuses on the generation and circulation of three thematic models of romantic feelings, the transfer of life, and the movement of the hometown, in order to grasp the development of the literati's fictional works by taking a series of poem titles in Xiang he's songs as the research object. Specific analysis of the theme of "Mo Shang Sang >, < Jiangnan >, < Chu Fei Yin], under the theme of" long song "," short song line "," no field yellow finch line "under the theme of romantic feelings < Mo Shang Sang >, < Jiang Nan >," Chu Fei Yin "," long Song "," short Song Line "," No Field Yellow Sparrow], "under the theme of" door with cars and horses "," Shangliu Tian Xing "," East Gate line ", etc., and so on. The sixth chapter first discusses its influence on poetry since the end of Han Dynasty, Wei and Jin dynasties, and then discusses the basic function of "Xing" song poem in Xiang he Song ci on the formalization of seven-character singing style. Conclusion, from the vulgarity, the relationship between elegant music and the formation of literary tradition in Yuefu, "Xiang he Song ci" to make a brief summary.
【学位授予单位】：南京师范大学
【学位级别】：博士
【学位授予年份】：2007
【分类号】：I207.22;J609.2

【引证文献】

中国博士学位论文全文数据库 前1条

1 漆明镜;“清商乐”研究[D];上海音乐学院;2012年

中国硕士学位论文全文数据库 前2条

1 崔建荣;曹植乐府“乖调”研究[D];漳州师范学院;2011年

2 李冰;相和歌辞之楚调怨诗研究[D];首都师范大学;2008年

本文编号：1905918