本文選題：曲譜序跋　切入點：史料研究　出處：《河北大學》2016年碩士論文　論文類型：學位論文

【摘要】：曲譜序跋內容豐富,數量可觀,是研究曲譜和曲學理論的重要文獻資料。本文采用廣義的序跋概念,研究范圍包括序、跋、題詞、凡例、總論等曲譜非正文部分的內容。本文共搜集到古代曲譜三十七部,序跋不拘版本,共七十八篇,凡例二十五種,論說等十四篇。針對序跋的內容性質的不同,本文分為史料和理論兩部分進行研究。在史料研究過程中,根據曲譜序跋所提供的信息分為曲譜編纂信息、曲譜譜系信息和散佚曲譜信息三個方面進行研究。在曲譜編纂信息中,根據曲譜序跋,推知出曲譜編纂時間、背景和目的,作者生平事跡以及曲譜流傳過程中的版本和刊刻信息。我國古代曲譜存在北曲和南曲兩個系統(tǒng),這兩個系統(tǒng)的曲譜之間,各自存在著繼承與發(fā)展的關系,本文認為《中原音韻》《南詞舊譜》《南詞全譜》等早期曲譜的編纂是為填詞制曲者訂立規(guī)范,為作品的創(chuàng)作定規(guī)范;清以后的曲譜則又因曲譜蕪雜,為曲譜訂規(guī)范。曲譜序跋中還提到了一些今已散佚的曲譜信息,可輯散佚曲譜有:《九宮》、《十三調》、《九宮十三調》、《骷髏格》、《墨憨齋詞譜》《隨園譜》等,這些曲譜的發(fā)現,豐富和完善了曲譜史。在曲譜序跋理論研究中,序跋包含豐富的曲學音樂和格律理論,涉及宮調、板眼、工尺、句韻、襯字、犯調等方面,這些理論直接推動了我國古代戲曲格律、音樂理論的發(fā)展。序跋中還提到了作者的選曲標準有所不同,體現了曲譜作者不同的理論主張。通過對我國古代曲譜序跋系統(tǒng)地梳理和研究,又發(fā)現其所含三個特點:序跋作者極力強調曲譜的實用性;序跋作者非常注重曲譜的傳承作用;序跋作者強調曲譜創(chuàng)作要結合實踐。
[Abstract]:The preface and postscript of qu spectrum is rich in content and considerable in quantity. It is an important document for studying the theory of qu spectrum and qu science. This paper adopts the concept of preface and postscript in a broad sense, including preface, postscript, inscription, etc. In this paper, we collected 37 pieces of ancient music, 78 preface and postscript versions, 25 examples, 14 theories and so on. According to the nature of preface and postscript, the content of preface and postscript is different. This paper is divided into two parts: historical data and theory. In the course of historical data research, according to the information provided by the preface and postscript of the qu spectrum, it is divided into the compilation information of the qu spectrum, In the compilation information of qu spectrum, according to the preface and postscript of the music spectrum, the author deduces the time, background and purpose of the compilation of the music spectrum. The author's life story and the edition and engraving information in the course of the spread of the musical composition. There are two systems in the ancient Chinese music: the Northern qu and the Southern qu, and the relationship between the two systems is inheritance and development. This paper holds that the compilation of early musical compositions, such as "Central Plains Phonology", "the Old Spectrum of Southern ci", "Southern ci complete Spectrum", and so on, was to establish a standard for the composer of the lyrics and to set a standard for the creation of the works, while the composition of the songs after the Qing Dynasty was complicated by the music composition. It is also mentioned in the preface and postscript of the qu that some lost music information has now been lost. The missing compositions can be compiled as follows: < Jiugong >, < 13 tone >, < Jiugong 13 tone >, < Skeleton >, "Mo Han Zhai ci Chronicle", "Suiyuan Spectrum", and so on. The discovery of these songs can be made. It enriches and perfects the history of qu spectrum. In the theoretical study of preface and postscript of qu, preface and postscript contain abundant musical and rhythmic theories of qu studies, including the aspects of palace tune, eye eye, ruler, sentence rhyme, lining character, infringing tone, etc. These theories directly promoted the development of ancient Chinese opera and music theory. The preface and postscript also mentioned that the author's criteria for selecting music were different. By systematically combing and studying the preface and postscript of ancient Chinese music, it is found that the preface and postscript contain three characteristics: the preface and postscript emphasize the practicability of the composition, the preface and postscript attach great importance to the inheritance of the composition; The author of preface and postscript emphasizes that the composition of music should be combined with practice.
【學位授予單位】：河北大學
【學位級別】：碩士
【學位授予年份】：2016
【分類號】：I207.37
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本文編號：1618818