【摘要】：《白石i道人歌曲》是南宋姜夔所撰的詞調(diào)歌曲著作,書中保存了歌曲共102首(據(jù)張奕樞刻本)之多,留存有俗字譜、減字譜、律呂字譜三種不同的記譜法,特別是十七首俗字譜歌曲,是兩萬(wàn)余首宋詞作品中僅留下曲譜的詞調(diào)歌曲,成為中國(guó)音樂(lè)史研究中難得的寶貴史料。因此,對(duì)白石道人十七首詞調(diào)歌曲的記譜符號(hào)進(jìn)行深入研究,搞清楚其真實(shí)面目是很有必要的,這項(xiàng)研究在我國(guó)古代文學(xué)史和音樂(lè)史等領(lǐng)域中都具有重要的價(jià)值。 本文包括七章及引言、參考文獻(xiàn)、后記等部分,內(nèi)容涉及到姜白石俗字譜歌曲的歷史考察、歌曲注釋、姜白石俗字譜歌曲的研究現(xiàn)狀、譜字符號(hào)的考察、校勘以及符號(hào)、宮調(diào)、譯譜諸方面的研究。每一章重點(diǎn)研究白石道人俗字譜歌曲的一個(gè)或幾個(gè)方面,步步深入,從俗字譜歌曲的“外圍”到曲譜本身進(jìn)行全面的研究,提出了不少新的觀點(diǎn)。本文的最終結(jié)果是對(duì)姜白石的十七首俗字譜歌曲進(jìn)行新的譯譜,因此,對(duì)俗字譜的�？�、注釋以及對(duì)譜字、符號(hào)、宮調(diào)等諸方面的考察研究皆為譯譜的基礎(chǔ)。第一章主要對(duì)《白石道人歌曲》的作者、內(nèi)容、版本等方面進(jìn)行梳理,闡述姜白石的創(chuàng)作成就,考察《白石道人歌曲》的總體內(nèi)容及版本源流。第二章對(duì)十七首俗字譜歌曲的文字部分進(jìn)行詳細(xì)的注釋,考察俗字譜歌曲的創(chuàng)作背景及歌詞內(nèi)涵。第三章是關(guān)于姜白石俗字譜歌曲的研究歷史與現(xiàn)狀的研究,對(duì)符號(hào)、宮調(diào)、音高標(biāo)準(zhǔn)、用音等各方面的研究成果分別進(jìn)行細(xì)致的梳理,判斷各研究的合理性,得出本文的初步結(jié)論。第四章對(duì)姜白石俗字譜歌曲所用的譜字及符號(hào)進(jìn)行全面的統(tǒng)計(jì)考察,總體把握各譜字、符號(hào)在作品中的運(yùn)用情況,并進(jìn)行細(xì)致的校勘,為準(zhǔn)確澤譜提供可靠的版本。第五章關(guān)注于姜白石俗字譜歌曲的符號(hào)研究。目前對(duì)姜白石俗字譜歌曲的研究,爭(zhēng)論最大亟需解決的問(wèn)題就是關(guān)于“符號(hào)”的研究,這是白石道人俗字譜歌曲解澤的關(guān)鍵。本文通過(guò)考證,認(rèn)為姜白石全部俗字譜歌曲中所使用的符號(hào)共有六種,本章以文獻(xiàn)史料為依據(jù),注重“實(shí)證”的研究方法,對(duì)此六種符號(hào)進(jìn)行了深入的探究。第六章考證了白石道人俗字譜歌曲所用宮調(diào),從曲譜本身所用譜字、結(jié)音及文獻(xiàn)記載等方面考證宮調(diào)的實(shí)質(zhì)。第七章是在前六章研究的基礎(chǔ)上,對(duì)白石道人俗字譜歌曲進(jìn)行全面譯解。本文用五線譜記譜,在節(jié)拍節(jié)奏上,以“一字一音”為基礎(chǔ),采用“均拍”的觀點(diǎn)劃分“小節(jié)”,力求接近白石道人俗字譜歌曲的原貌。
[Abstract]:"Bai Shi I Taoist Song" is a ci song written by Jiang Kui in the Southern Song Dynasty. In the book, there are 102 songs (according to Zhang Yi-shu 's inscriptions), and there are three different notation methods: the common character spectrum, the subtraction spectrum, and the law Lu character spectrum. In particular, Seventeen folk songs are the only songs in more than 20,000 Song ci works, which have become a precious historical data in the study of Chinese music history. Therefore, it is necessary to make a thorough study on the notation symbols of 17 ci songs of Baishi Taoist people, which is of great value in the field of ancient literature and music history of our country. This article includes seven chapters and preface, references, postscript and so on. The content involves the historical investigation, the song annotation, the research present situation of the Jiangbishi vulgar character spectrum song, the investigation of the spectrum character symbol, the collation and the symbol, the palace tune, etc. The study of translation. Each chapter focuses on one or several aspects of the Baishi Taoist folk song, step by step, from the "periphery" of the folk music to the comprehensive study of the composition itself, and puts forward a lot of new points of view. The final result of this paper is to make a new translation of Jiang Baishi's 17 songs. Therefore, the collation, annotation, and the investigation and study of the spectrum, symbols, gong diao and so on are all the bases of the translation. The first chapter mainly combs the author, content and edition of Baishi Taoist Song, expounds Jiang Baishi's creation achievement, and inspects the overall content and edition origin of Baishi Taoist Song. In the second chapter, the writing background and lyric connotation of 17 songs are discussed in detail. The third chapter is about the research history and the present situation of Jiang Baishi's vulgar characters and songs. The research results of symbol, palace tune, pitch standard, tone and so on are carefully combed to judge the rationality of each research. The preliminary conclusions of this paper are obtained. The fourth chapter makes a comprehensive statistical investigation on the spectrum characters and symbols used by Jiang Baishi's vulgar characters and songs, as a whole, grasps the application of each spectrum character and symbol in the works, and carries on the careful collation, which provides the reliable version for the accurate spectrum. The fifth chapter focuses on the study of the symbol of Jiang Baishi's popular character. At present, the research on the song of Jiang Baishi's vulgar character spectrum is the most urgent problem that needs to be solved, which is the key to the explanation of Baishi Taoist's vulgar character song. Through textual research, this paper holds that there are six kinds of symbols used in Jiang Baishi's songs. This chapter is based on the historical documents and focuses on the research methods of "empirical", and makes a deep exploration of these six symbols. The sixth chapter studies the essence of palace tune used by Baishi Taoist folk song, from the aspects of the spectrum itself, the closing tone and the literature records. On the basis of the first six chapters, the seventh chapter is a comprehensive interpretation of the Baishi Taoist folklore. Based on the rhythm of "one word, one note" and the viewpoint of "even pat", this paper uses the staff spectrum to divide "section", in order to be close to the original appearance of the Baishi Taoist and folk characters.
【學(xué)位授予單位】：上海音樂(lè)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2010
【分類號(hào)】：J614

【引證文獻(xiàn)】

相關(guān)期刊論文 前3條

1 何肖;;近十年姜夔研究綜述[J];語(yǔ)文學(xué)刊;2012年10期

2 伍三土;王小盾;;《白石道人歌曲》十七首詞樂(lè)旁譜新校[J];音樂(lè)探索;2013年02期

3 楊子;;淺論詞與樂(lè)的完美結(jié)合——以姜夔自度曲為例[J];民族音樂(lè);2013年05期

相關(guān)博士學(xué)位論文 前3條

1 王先艷;論民間合奏樂(lè)種的傳承方式[D];中央音樂(lè)學(xué)院;2012年

2 于韻菲;《愿成雙·賺》譜研究[D];上海音樂(lè)學(xué)院;2013年

3 伍三土;宋詞音樂(lè)專題研究[D];揚(yáng)州大學(xué);2013年

相關(guān)碩士學(xué)位論文 前3條

1 劉茜;探究中國(guó)古詩(shī)詞藝術(shù)歌曲演唱中的“依字行腔”[D];西南交通大學(xué);2013年

2 陸玉梅;中學(xué)生詩(shī)詞吟唱教學(xué)的研究[D];上海師范大學(xué);2013年

3 楊子;姜白石詞調(diào)歌曲研究綜論[D];河南大學(xué);2013年

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本文編號(hào)：2132737