本文選題：禮樂 + 漢樂府　； 參考：《南京師范大學(xué)》2005年碩士論文

【摘要】：漢樂府是戰(zhàn)國至秦漢雅樂衰微、俗樂逐漸發(fā)展的產(chǎn)物。論文以樂府的音樂性為角度,從禮樂的源流與衍變?nèi)胧?闡明禮樂在上古先秦時(shí)代的重要地位以及后世地位的變化。禮樂在先秦社會(huì)的日常生活中起著重要作用,特別是在政治,教育中扮演著主要的角色,可到后世特別是漢以后,音樂讓位于文字,禮教、樂教讓位于詩教,音樂逐漸由正統(tǒng)變?yōu)榕阋r走向下層。具體表現(xiàn)為雅樂的衰微,俗樂的興盛,這對后世音樂文學(xué)的發(fā)展產(chǎn)生了非常重大的影響,漢樂府在這個(gè)變化中,起著樞紐的作用。 樂府詩與音樂的密切關(guān)系表現(xiàn)在眾多方面。音樂上的沿革必然會(huì)影響其歌辭句式的變化,樂府詩大多是先有聲后有辭,辭的創(chuàng)作必須要根據(jù)音樂的變化而變化,其表現(xiàn)就是詞匯的停頓造成節(jié)奏上的變化。那么,從《詩經(jīng)》較多整齊的四言,《離騷》以六言居多,一直到樂府以雜言為主其中又包含一些比較整飭的句式,曲調(diào)的變化應(yīng)是其中一個(gè)比較大的原因,因此曲調(diào)成為了一個(gè)重要的參照物。本文主要對樂府詩音樂形式問題進(jìn)行了探討和論述,闡述了曲調(diào)與曲名的關(guān)系,曲調(diào)與表現(xiàn)題材之間的關(guān)系,樂府與說唱文學(xué)的關(guān)系,強(qiáng)調(diào)了曲調(diào)、句式的變化所蘊(yùn)涵的音樂變革,試圖從音樂性這一角度揭示樂府作為中國古代一種重要詩歌樣式的特性。
[Abstract]:Han Yuefu was the product of the gradual development of folk music and the decline of elegant music from warring States to Qin and Han dynasties. From the point of view of musical nature of Yuefu, from the origin and evolution of ritual music, this paper expounds the important position of ritual music in the ancient pre-Qin period and the change of its later status. Etiquette and music played an important role in the daily life of pre-Qin society, especially in politics and education. In later generations, especially after the Han Dynasty, music gave way to writing, etiquette and music education to poetry teaching. Music gradually changed from orthodoxy to underworld. Specifically, the decline of elegant music and the prosperity of popular music had a great impact on the development of music literature in later generations. Han Yuefu played a pivotal role in this change. The close relationship between Yuefu poetry and music is manifested in many aspects. The evolution of music will inevitably affect the changes of the sentence patterns of its songs. Most of the poems of Yuefu are composed by the changes of the music, and the changes of the rhythm are caused by the pause of the vocabulary. Well, from the more neat four words in the Book of songs, and the fact that Li Sao is in the majority of six words, until Yuefu is dominated by miscellaneous words, which also contains some more neat sentence patterns, the change in tune should be one of the major reasons for this. So the tune became an important reference. This paper mainly discusses the musical form of Yuefu poetry, expounds the relationship between tune and title, the relationship between melody and performance theme, the relationship between Yuefu and the literature of saying and singing, and emphasizes the tune. The musical change implied by the change of sentence structure attempts to reveal the characteristics of Yuefu as an important poetic style in ancient China from the perspective of musicality.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2005
【分類號】：J609.2

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前6條

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2 蔣寧;齊梁音樂制作與文人樂府創(chuàng)作[D];上海師范大學(xué);2011年

3 崔建榮;曹植樂府“乖調(diào)”研究[D];漳州師范學(xué)院;2011年

4 崔帥;南北朝樂府中的聯(lián)綿詞比較[D];渤海大學(xué);2012年

5 董曉;樂府制度演變與東漢樂府詩[D];河北師范大學(xué);2013年

6 王晉妮;黑格爾音樂美學(xué)思想之詞樂關(guān)系論研究[D];上海師范大學(xué);2013年

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本文編號：1790057