本文選題：工尺譜字 + 阿口　； 參考：《音樂藝術(shù)(上海音樂學(xué)院學(xué)報)》2017年03期

【摘要】：楊蔭瀏在智化寺"京音樂"調(diào)查中首先發(fā)現(xiàn)了傳統(tǒng)樂種的抄譜與韻唱之間存在的"阿口"現(xiàn)象,譜本上抄錄的"實(shí)字"與樂師們韻譜的"阿口"以及實(shí)際演奏譜之間都存在差異,這成為中國傳統(tǒng)音樂呈現(xiàn)過程中的一套鏈條。樂譜呈現(xiàn)過程中"字""韻""奏"的分離現(xiàn)象,源自古代"填詞入樂"體制。從中可以窺見文化制度的潛規(guī)則,即隔離文人與樂工的知識雙軌制。認(rèn)識這種現(xiàn)象有助于認(rèn)識傳統(tǒng)音樂呈現(xiàn)方式的整套體制。
[Abstract]:Yang Ying-liu first discovered the "Akou" phenomenon between the music transcripts of the traditional music species and the rhyme singing in the "Beijing Music" investigation of Zhihua Temple. There are differences between the "real characters" copied from the music book and the music musicians'"Akou" and the actual performance scores, which has become a set of chain in the process of the presentation of Chinese traditional music. The separation of "character" and "rhyme" and "playing" in the presentation of music score originates from the ancient system of "filling in words into music". We can see the hidden rules of cultural system, that is, the double track system of isolating literati and music workers. Understanding this phenomenon helps to understand the whole system of traditional musical presentation.
【分類號】：J613.2
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本文編號：1981996