诗乐合论:宋代“诗论”与“乐论”关系发微  

A Study of the Relationship between "Poetic Theories" and "Music Theories"

作　　者：韩伟[1] 吴铁柱[2] 

机构地区：[1]哈尔滨师范大学中文系,黑龙江哈尔滨150025 [2]黑龙江大学中文系,黑龙江哈尔滨150080

出　　处：《海南师范大学学报（社会科学版）》2011年第5期34-38,共5页Journal of Hainan Normal University(Social Sciences)

基　　金：教育部人文社科青年基金项目"宋代乐论研究"(编号:10YJC751024)阶段性成果;黑龙江省教育厅项目"中国古代乐论美学思想研究"(编号:11552086)阶段性成果

摘　　要：宋代是继汉代诗、乐分途之后,两者融合的重要时期,其主要表现在于理论层面的诗乐合论。这种关系既表现在沈括、郑樵、王灼等人概论式的论说之中,亦有很多具体而微的表现,在宋诗话涉及的众多内容中对乐器、乐曲以及历代乐诗的评点占有一席之地,诗话中论乐成了宋诗话的重要特色。与此同时,对乐器、乐曲、乐诗的言说也使宋诗话对"诗"与"文"的分析更为形象而具体。The Song Dynasty is a significant period of integration for peotry and muisc since their detachment in the Han Dynasty, as is evident in the combined exposition on peotry and music at the theoretic level, which is embodied not only in sketchy comments by Shen Kuo, Zheng Qiao and Wang Zhuo, et al but also in many concrete and profound discussions. As notes on the poets and poetry in the Song Dyansty involved musical instruments, musical compositions and previous commentaries on the msuic theory, the expo- sition on poets and poetry in the Song Dynasty is characterized by its incluison of discussions on music. Meanwhile, the exposition on muiseal instruments, musical compositions and musical poems has also led to a more vivid and concrete analysis of ＂verse＂ and ＂prose＂ in the poetic discussion of the Song Dynasty.

关 键 词：诗论 乐论 乐器 乐曲 乐诗 

分 类 号：I207[文学—中国文学]