晋宋乐府诗研究

【作者】 王志清；

【导师】 吴相洲；

【作者基本信息】 首都师范大学 ， 中国古代文学， 2007， 博士

【摘要】 论文从文献学、音乐学、文学三方面,对晋宋时期的吴声、西曲和文人乐府诗进行了全面、细致的研究。绪论部分分析了“晋宋乐府诗”时段划分的音乐和文学依据,指出此时期乐府文学旧曲、新声并存的特点。在综述研究状况的同时,提出本文的创新空间及所运用的乐府学研究理念。正文共分六章。第一章以《乐府诗集》为中心,考察晋宋乐府诗的文献来源、著录特点及存在的问题,并认识晋宋乐府诗的基本格局,为进一步研究奠定基础。第二章通过对晋宋乐府制度和上层社会歌舞娱乐环境的考察,揭示出晋宋乐府诗创作的音乐背景和总体的发展趋势。由于产生的时间、地域不同,曲式结构各异,因此,第三章、第四章分别对吴声、西曲进行单独研究。吴声、西曲研究重在音乐性质、音乐渊源、音乐特点、产生方式、体式特征、题名来源、民俗内涵等方面的开掘,以区别于传统的诗歌研究范畴。主要观点如下:一、吴声是在“吴哥”基础上发展而来的艺术歌曲,是晋宋时期新型的世俗化娱乐乐歌。二、吴声渊源于南方音乐系统,“哀”、“怨”是其主要的音乐风格。三、吴声的表演方式包括组曲联唱、单曲独唱、男女对唱等。四、吴声歌辞制作中存在着运用套式语、模拟仿制和曲辞借用等独特现象。五、吴声歌辞中的民俗内涵与晋宋文人诗歌意象、题材有相沟通之处。六、西曲因对当时各种流行音乐的吸纳而呈现出开放的音乐形态。七、“舞曲”是西曲主要的艺术形式,“倚歌”则是一种伴奏形式特殊的独唱歌曲。第五章研究晋宋相和歌辞。相和歌辞是晋宋文人乐府诗的主要类型。它们继承了汉魏乐府文学关注现实、人生的创作精神,但又受到流行新声的影响,于内容和形式两方面均呈现出新变的特点,其总体面貌可概括为“在传统与新变之间”。保存于刘宋宫廷中,并具有完整表演体制的相和歌和清商三调,成为刘宋文人乐府创作的音乐背景。而文学抒情性的回归,文坛的拟古倾向,共同构成刘宋乐府文学复兴的文学背景。第六章鲍照乐府诗研究中,首先结合史实和鲍照的生平经历,对其乐府诗内容的三个层面——时事政治层面、社会政治层面、个体人生层面进行详细考察。其次,从题、辞、意三者之关系入手,深入研究鲍照乐府的创作方式。再次,区分制作流行乐歌与运用流行乐歌体式两种情况,解释了鲍照乐府诗与流行新声的关系。结语部分立足于乐府诗史,总结了晋宋乐府诗的特殊面貌;从不同的诗歌功能出发,阐明了晋宋时期各类乐府诗之间的内部联系。更多还原

【Abstract】 The article studies the Wu-Ge、 Xi-Qu and Yue-Fu Poem made by literati in Eastern Jin and liu Song period, which integrates the exploratory research of musicology、 philology and literature.The introduction part reveals the phenomena that the old songs and the prevailing songs coexist based on illustrating the cause of music and literature about the Yue-Fu poem appeared in this period. Meanwhile, this part raises several new ideas and research theory.The body part is divided into six chapters. The first chapter sees about the philology source .carding trait and shortcoming about Jin-Song Yue-Fu poems in Yuefushiji .The second chapter makes an overall research about Conservatory system and the surroundings of entertainment in Jin-Song, reveals the musical background and the developing tread of Yue-Fu poem in this period.Because of different area and time .different musical structure ,Wu-Ge and Xi-Qu are discussed in two chapters .The third and fourth chapters stress Wu-Ge and Xi-Qu’s musical source and nature and trait ,as while as appearance style .pattern and name. The main points are followed: firstly, Wu-Sheng(吴声)is artistic song which is developed on the basis of Wu-Ge(吴歌).Secondly, Wu-Sheng origins from the fork rhyme in the Southern area, its melody is narrow. Thirdly, the performance consists of three modes-suite and sole and antiphonal singing. The fourth point is that the produce of Wu-Sheng poems exists the phenomena named polite formula .imitating and borrowing .The fifth point is that the folk custom content of the Wu-Sheng poem links up the poem made by literati .The sixth point is that Xi-Qu has open musical form due to absorbing different music .The seventh point .dancing is important mode of Xi-Qu .while Yi-Ge(倚歌)is a song sung singly.The fifth chapter researches Xiang-he songs in Jin-Song, points out that it is placed between tradition and innovation. The make of Xiang-he songs has the musical and literature background, including that Xiang-he song are sung in the Liu-song palace and the change of literature direction.In the last chapter sees about the content of Yue-fu poem made by Baozhao.researches the creating mode about Baozhao’s Yue-fu poem, reveals the relationship between Baozhao’s Yue-fu poem and the prevailing songs.The appendix part summarizes the particular characters of Yue-fu pomes appeared in Jinsong period, analyses interior connection among the different Yue-fu poem in this period.更多还原