【作者】 周韬；

【导师】 邓乔彬；

【作者基本信息】 暨南大学 ， 古代韵文学， 2008， 博士

【摘要】 詞爲“倚聲”,自不同詩。“歌以詠言”蘊育了“依字聲行腔”的傳統歌詩,“倚聲填詞”孳生了“依曲拍爲句”的詩客曲子。隋唐尚俗棄雅,俗文俗樂,水乳交融。盛唐教坊從太常獨立,專事俗樂歌舞,爲詩客“倚聲”之源。代表著唐樂最高水平的坐部伎琵琶曲以其急弦促柱的細碎繁拍催生了唐五代以三言爲主干旋律的促拍曲式,詩客倚拍板節奏之聲作爲長短句,“用資羽蓋之歡”,《花間》、《尊前》稍傳其體;北宋文盛,“禮樂”大興,以雅化俗,提倡“正聲”。宋代教坊復歸太常,專事燕樂。摒去坐部伎不用,以觱篥充任頭管,樂曲音節驟趨暉緩,體式由快而慢。在“變舊聲,作新聲”的音樂背景下,柳永以知音之能,創調之才,作俗詞、出《樂章集》,“以辭傳樂”。正因爲“有井水飲處皆歌柳詞”,教坊燕樂之慢拍曲子纔爲一時所流被,宋詞始得以慢體而代勝前朝。然以俗詞填變雅聲之舉引發了文壇的強勁反撥,以蘇軾爲領袖,雅化俗詞以還風雅之聲,“指出向上一路”。惜不諧於唱,未能曲盡人意。徽宗刻意復雅,頒大晟,禁俚俗,備角徵,理宮商,教坊燕樂徹底去俗還雅,再添新聲。清真每以新調寫之,還文樂諧美之渾化,集唐宋歌詞之大成。南渡以後,燕樂寢廢,“倚聲”之源日竭。自姜夔以自度曲另辟蹊徑,比求音韻,爲格律派所祖,知音日稀,詞樂漸亡。更多还原

【Abstract】 As the type of "Tuning" literature, Ci Poem is different from normal verses. The traditional vocal poems are chanted according to "Toning of Individual Characters", which were originated from the tradition of "Singing upon Diction ". While "Indite for Tuning" generated the "Poets’ Lyric" in terms of "Sentencing against the Music Text". People of Sui and Tang Dynasties preferred vulgarization to Confucianism, consequently, pop literature arose so as to completely harmonizing with pop music. During the golden phase of Tang Dynasty, the imperial music office had been set apart from the royal department that controlled the music of ritual, as having been wholly engaged to folk music, especially for singing and dancing. This is the "Tuning" origin of Ci Poem.As the chief instrumental music, the lute composition belonging to "Band Be-seated" had urged the coming forth of central tune with its frequent musical clappers, as per 3-words express cadence, representing the leading edge of music during Tang Dynasty and the Ten Nations Historical Phase. Poets started to indite for entertainment by sentencing against such music cadences, bringing the poetry anthologies forth, such as "A Collection in Flowers" and "Along with the Goblets" etc..Accompanying with the cultural flourish of North Song Dynasty, as well as the prosperous vision of Confucian ethical ideas and music, the literati began to advocate for the positive and righteous tones, in order to eliminate the vulgar culture by encouraging the penetration of Confucianism. The imperial music office of Song Dynasty had been returned to the royal department controlling ritual music, so as to be technically responsible for music of conviviality. As the result, the "Band Be-seated" composition was then eliminated by the Tartar pipe as the chief instrument instead, music was slowed down, so as the tempi. In such a background of "Reforming Old Tunes into New Ones", Liu Yong composed "Lyric Collections" of vulgar words, depending on his abilities as wit of bosom friend, thus imperial music of the time was promulgated in form of these songs. The imperial music protocol for dinner parties was so popular at the moment, as "Liu Yong’s lyrics were sung wherever a well could be found". Therefore, the Ci Poems in Song Dynasty had surpassed its former works in either Tang Dynasty or the Ten Nations Historical Phase.However, the acts that interfused vulgar words into lyrics for ceremonial classic music had induced a severe argue against within the literary world. As the leader of the generation, Su Shi took part in the inditing of Ci Poem, in order to "upright" the vulgar ones into polite letters. Unfortunately, such works could hardly be harmonized while singing, thus the lyrics were not so acceptable at the moment. The Emperor Hui of Song Dynasty paid intensive attention among classical arts and literatures. He promulgated music office named "Da Sheng", prohibited vulgar contents, super-induced "3" and "5" melodies, re-ordered "1" and "2" tonalities, the music of imperial office had been completely purified and enriched under the direction of Confucianism. Meanwhile, Zhou Bang Yan used to introduce new melodies for "Tuning", such lyrics were reverted perfectly both in literature and music, representing the peak of Ci Poem in Song Dynasty.After moving to the South, the music protocol for dinner parties were abolished, and the mine of "Tuning" were dried up day by day. Depending on his full command of music, Jiang Kui began to fight another way for "Tuning" by composing songs and music privately. His works were panegyrized by literates who promulgated for the application of "Chinese 4 Tones" during composition. Consequently, less and less literates could understand the "Tuning" theory, and the music of Ci Poem died out eventually.更多还原