本文選題：樂(lè)府 + 相和歌辭��； 參考：《南京師范大學(xué)》2007年博士論文

【摘要】： 樂(lè)府“相和歌辭”研究是中國(guó)古代音樂(lè)史和文學(xué)史上值得研究的重要一環(huán)。本文從文獻(xiàn)學(xué)、音樂(lè)學(xué)和文學(xué)三個(gè)方面，對(duì)樂(lè)府中“相和歌辭”一類(lèi)進(jìn)行了較為細(xì)致的探討研究。 第一章引論，通過(guò)梳理歷史資料，對(duì)“相和歌辭”作出合理的界定。在此基礎(chǔ)上，比較“相和歌”與“清商樂(lè)”、“相和大曲”與“清商大曲”兩組概念的差異，進(jìn)而概括出“相和歌辭”的三大特征：世俗性、寫(xiě)實(shí)性與諧和性。 第二章，，通過(guò)對(duì)郭茂倩《樂(lè)府詩(shī)集》“相和歌辭”部分的文獻(xiàn)考察，明確了郭茂倩的收錄標(biāo)準(zhǔn)。再?gòu)南嗪透柁o的曲目編排出發(fā)，將之與釋智匠《古今樂(lè)錄》、沈約《宋書(shū)·樂(lè)志》、鄭樵《通志·樂(lè)略》、吳兢《樂(lè)府古題要解》進(jìn)行比較，認(rèn)為郭茂倩在征引資料方面以《古今樂(lè)錄》為主，兼及其他，音樂(lè)因素與詩(shī)旨分析并重。在此基礎(chǔ)上，對(duì)《樂(lè)府詩(shī)集》“相和歌辭”部分進(jìn)行曲目和同題曲辭的補(bǔ)錄以及同出異名情況的整理。 第三、四章從音樂(lè)學(xué)的角度對(duì)相和樂(lè)歌的地域特征和流變情況進(jìn)行研究。第三章先從《漢書(shū)·藝文志》所載歌詩(shī)目錄入手，將這些地域的歌詩(shī)與地域文化圈進(jìn)行對(duì)應(yīng)，初步判斷出京城附近、山東地區(qū)、江南地區(qū)等是樂(lè)府機(jī)構(gòu)采風(fēng)所涉的地域。然后對(duì)現(xiàn)存相和樂(lè)歌進(jìn)行地域特征考察，分析了不同地域歌辭的風(fēng)格差異，如山東以舒緩柔和為主，荊楚以促迅急迫為主，關(guān)中以慷慨悲切為主等。第四章探討相和樂(lè)歌在魏晉南北朝時(shí)期的流變。探討曹魏時(shí)期相和歌辭的內(nèi)容所涉及的三個(gè)方面：一是俗樂(lè)機(jī)構(gòu)清商署的性質(zhì)。二是文人制作與樂(lè)工改制并舉的歌辭生成方式。三是清商三調(diào)歌詩(shī)、清商大曲在藝術(shù)形式上的創(chuàng)新。兩晉南北朝時(shí)期則圍繞相和樂(lè)歌的流變展開(kāi)研究，這一時(shí)期除了少量作品在上層貴族中仍被演唱，用于娛樂(lè)；多數(shù)已由樂(lè)工收集整理，用于宮廷禮儀。最后依據(jù)文獻(xiàn)資料，整理出南朝流傳的相和歌曲目。 第五、六章是從文學(xué)的角度對(duì)相和歌辭的主題模式和文學(xué)影響進(jìn)行研究。第五章以相和歌辭中的系列詩(shī)題為研究對(duì)象，集中探討艷情、生命遷逝、行役懷鄉(xiāng)三類(lèi)主題模式的生成與流傳，以期把握文人擬作的發(fā)展脈絡(luò)。具體解析艷情主題下《陌上�！�、《江南》、《楚妃吟》，生命遷逝主題下《長(zhǎng)歌行》、《短歌行》、《野田黃雀行》，行役懷鄉(xiāng)主題下《門(mén)有車(chē)馬客行》、《上留田行》、《東門(mén)行》等系列詩(shī)題的流變。第六章先從整體上探討其對(duì)漢末魏晉以來(lái)詩(shī)歌的影響，然后再具體探討相和歌辭中的“行”題歌詩(shī)對(duì)七言歌行體的定型所起的奠基作用。 結(jié)語(yǔ)，從俗、雅樂(lè)的關(guān)系和文學(xué)擬作傳統(tǒng)的形成兩個(gè)方面對(duì)樂(lè)府中“相和歌辭”作簡(jiǎn)要的歸納總結(jié)。
[Abstract]:The study of Xiang he Song ci in Yuefu is an important part worth studying in the history of ancient Chinese music and literature. This paper, from three aspects of philology, musicology and literature, makes a detailed study on the category of "Xiang he Song ci" in Yuefu. The first chapter introduces the reasonable definition of Xiang he Song ci by combing the historical data. On this basis, this paper compares the differences between Xianghe Song and Qing Shang Music, Xianghe Daqu and Qing Shang Daqu, and then generalizes the three characteristics of Xiang he Song ci: secular, realistic and harmonious. The second chapter, through the literature review of Guo Maoqian's collection of poems of Yuefu, Xianghe Song ci, clarifies Guo Maoqian's standard of collection. Then, starting from the arrangement of the songs of Xiang and he, we compare them with the works of the Scholars, Shen Yue, Song Shu and Le Zhi, Zheng Qiao, Tongzhi, and Wu Jing, who want to solve the ancient problems of Yuefu. It is considered that Guo Maoqian's cited data are mainly "ancient and modern music records", and other, both musical factors and poetic tenets are analyzed equally. On the basis of this, the part of Xiang he Song ci of Yuefu Poems is supplemented with the songs of the same title and the synonyms are arranged. Chapter three, chapter four studies the regional characteristics and evolution of Xianghe song from the perspective of musicology. The third chapter begins with the catalogue of songs and poems contained in the Book of Art and Chronicles of the Han Dynasty, which corresponds to the regional cultural circle, and preliminarily finds out that the areas near the capital, Shandong and Jiangnan are the regions involved in the collection of wind by Yuefu institutions. Then the author investigates the regional characteristics of the existing phases and songs, and analyzes the style differences of the songs in different regions, such as Shandong to ease and soften, Jingchu to promote rapid urgency, Guanzhong to generous and sad, and so on. Chapter four discusses the evolution of Xianghe Song in Wei, Jin, Southern and Northern dynasties. This paper discusses three aspects involved in the content of Xiang he's songs in the period of Cao Wei: first, the nature of the Qing Dynasty Office of Folk Music. Second, the literati production and music industry reform of the creation of songs. Third, the three tune songs of Qing Dynasty and the innovation of Qing Shang Daqu in art form. During the Jin Dynasty and the Northern and Southern dynasties, the study was carried out around the changes of the phases and songs. In this period, except a few works were still sung in the upper aristocrats, they were still used for entertainment; most of them had been collected and arranged by the musicians and used for court etiquette. Finally, according to the literature, collate out the spread of the Southern Dynasty Xianghe songs. The fifth and sixth chapters study the theme pattern and literary influence of Xiang he's songs from the literary point of view. The fifth chapter focuses on the generation and circulation of three thematic models of romantic feelings, the transfer of life, and the movement of the hometown, in order to grasp the development of the literati's fictional works by taking a series of poem titles in Xiang he's songs as the research object. Specific analysis of the theme of "Mo Shang Sang >, < Jiangnan >, < Chu Fei Yin], under the theme of" long song "," short song line "," no field yellow finch line "under the theme of romantic feelings < Mo Shang Sang >, < Jiang Nan >," Chu Fei Yin "," long Song "," short Song Line "," No Field Yellow Sparrow], "under the theme of" door with cars and horses "," Shangliu Tian Xing "," East Gate line ", etc., and so on. The sixth chapter first discusses its influence on poetry since the end of Han Dynasty, Wei and Jin dynasties, and then discusses the basic function of "Xing" song poem in Xiang he Song ci on the formalization of seven-character singing style. Conclusion, from the vulgarity, the relationship between elegant music and the formation of literary tradition in Yuefu, "Xiang he Song ci" to make a brief summary.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2007
【分類(lèi)號(hào)】：I207.22;J609.2

【引證文獻(xiàn)】

中國(guó)博士學(xué)位論文全文數(shù)據(jù)庫(kù) 前1條

1 漆明鏡;“清商樂(lè)”研究[D];上海音樂(lè)學(xué)院;2012年

中國(guó)碩士學(xué)位論文全文數(shù)據(jù)庫(kù) 前2條

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

2 李冰;相和歌辭之楚調(diào)怨詩(shī)研究[D];首都師范大學(xué);2008年

本文編號(hào)：1905918