南宋雅词派与“大晟乐”关系蠡测  

On the Connection between Da-sheng Music and the Elegant Ci-poets Genre in Southern Song Dynasty

作　　者：张春义[1] 范道济[1] 任燕平[1] 谢遂联[1] 艾晶[1] 

机构地区：[1]嘉兴学院文法学院,浙江嘉兴314000

出　　处：《嘉兴学院学报》2006年第4期42-47,共6页Journal of Jiaxing University

摘　　要：南宋雅词派首重“协音”,关键乃在于“填词按谱”。此处“谱”虽较复杂,但“大晟曲谱”与“清真谱”无疑是最为重要的两种。南宋雅词派不仅在词的创作实践中反复以“大晟乐法”为旨归,而且对两种“曲谱”的模仿与习学也成为“雅词”创作的一大“心法”。这不仅对南宋雅词派“词法”的形成有着不可忽略的影响,而且对南宋词最终走向“典雅”“协音”之路起了关键的作用。南宋雅词派对“大晟乐”的接受使它在走向词艺巅峰的同时不可避免地落入与“大晟乐”同样日渐衰竭之命运。The consonancy of music and Ci - poetry, especially writing according to the musicbook, was the most important criterion of the Elegant Ci - poets Genre in Southern Song Dynasty （ECG）. Originally speaking, Qing - zhen Musicbook and Da - sheng Musicbook were two typical ones of many musicbooks enumerated by the ECG. Accordingly, the above - mentioned musicbooks were the glorified examples canonized by the ECG, not in their theory but in Ci - poetry writing, which formed a set of writing methods of Ci - poetry and ultimately speeded the Southern Song Dynasty Ci - poetryg elegance, including consonancy of music and Ci - poetry, elegant style of writing. However, similarly to its own destiny, Dasheng Music brought not only the Elegant Ci -poetryg transitory prospority but also its perpetual wane, as a result of the ECG was far apart to the commonly accepted tastes.

关 键 词：南宋雅词派 词法 大晟曲谱 清真谱 

分 类 号：I207.23[文学—中国文学]