本文選題：高濂 + 詞曲劇�。� 參考：《文學(xué)遺產(chǎn)》2017年01期

【摘要】：明代詞曲家高濂的詞、曲、劇創(chuàng)作表現(xiàn)出相互融通之特點(diǎn):高濂詞中77%為聯(lián)章體,作為曲家,他更多接受的是聯(lián)章與曲的承接鏈,以曲式的鋪排來展現(xiàn)詞中的閑逸之趣;高濂對散曲投入頗深,故形成慣性而間接影響到其艷情詞的曲化元素的融入,既細(xì)膩入情又直陳流利;高濂《玉簪記》的形成和曲詞風(fēng)格皆與詞體有著密切關(guān)聯(lián)。對高濂進(jìn)行文體融通之研究,既順應(yīng)了明代詞曲統(tǒng)觀的特殊背景,又在詞曲文體互動研究方法論上具有啟示意義,并為認(rèn)識明代復(fù)雜的詞曲互動現(xiàn)象提供了一個(gè)典型的范例。
[Abstract]:Gao Lian's ci, song and drama creation in the Ming Dynasty showed the characteristics of mutual integration: 77% of Gao Lian's ci poems were associated with Zhang style. As a composer, he accepted more of the chain of undertaking of the combination of Zhang and qu, and displayed the ease of interest in the ci with the arrangement of the form of music. Because of his deep investment in scattered songs, the formation of inertia and indirect influence on the integration of the qu elements of his affectionate words are both delicate and fluent, and the formation of Gao Lian's Book of Hosta and the style of qu ci are closely related to the style of ci. The research on the style blending of Gao Lian not only conforms to the special background of the concept of ci poetry and song in the Ming Dynasty, but also has enlightening significance in the methodology of the research on the style interaction of ci and qu, and provides a typical example for the understanding of the complex phenomenon of the interaction of ci and qu in the Ming Dynasty.
【作者單位】： 黑龍江大學(xué)明清文學(xué)與文化研究基地;
【基金】：國家社會科學(xué)基金項(xiàng)目“明代詞曲互動研究”(項(xiàng)目編號12BZW047) 黑龍江大學(xué)博士基金項(xiàng)目階段性成果
【分類號】：I206.2

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