从“倚声”论唐宋词体之形成与初步发展  

A Study of the Form and Initial Development of the "Ci" Style within Tang & Song Dynasty upon the Viewpoint of "Tuning"

作　　者：邓乔彬[1] 周韬[1] 

机构地区：[1]暨南大学文学院,广东广州510632

出　　处：《上海大学学报（社会科学版）》2008年第4期112-121,共10页Journal of Shanghai University(Social Sciences Edition)

基　　金：国家社科基金项目(04BZW024)

摘　　要：词不同于诗,属"倚声"而作、合乐而歌的韵文体格。词所倚之声,最初是唐俗乐歌曲,其文体结构的形成与发展深受曲体结构约束。唐五代文人制词注重"倚声"谐唱,然依创作惯性引近体诗律为句,为词体"律化"发轫。北宋以来,文人词创作在"倚声"与"依律"之间各有取舍。"倚声"家沿续唐五代制词谐唱之传统,又复增衍"慢"体与前代令曲并称;"依律"者"以诗为词",导致"词"与"俗乐"分离,重拾"正声"以配"雅词"。Being different from Shi, Ci is a rhyming style that is written and sung according to tunes, The initial sound that Ci relies on was the local songs of Tang Dynasty. Consequently, the style formation and development of Ci was greatly committed by tune structure. Literates of Tang and the Five Dynasties paid attention to Tuning during Ci inditing. On the other hand, their inditing habits also drove them to adopt sentences based on previous poetic metre, thus initiated the Toning of Ci. The Ci inditing of literates turned on an alternation between ＂Tuning＂ and ＂Toning＂ ever since the early Song Dynas ty. Those stood for ＂Tuning＂ inherited the tradition of Ci inditing since Tang and the Five Dynasties. Moreover, they also developed ＂Man＂ tunes, which became equally popular with ＂Ling＂ tunes originated by predecessors. While those for ＂Toning＂ started the poetic writing of Ci, thereby extracted Ci from those local songs, calling for the regression of ceremonial classic music, so as to tune with their elegant Ci inditing.

关 键 词：倚声 依律 俗乐 正声 

分 类 号：I207.23[文学—中国文学]