汉代相和大曲对楚辞曲式的承续及新变  

Xianghe Daqu's Inheritance and Reform upon Chu Ci's Musical Form

作　　者：李博昊[1] 

机构地区：[1]吉林大学珠海学院中文系,广东珠海519041

出　　处：《学术交流》2012年第8期164-167,共4页Academic Exchange

基　　金：广东省教育厅高等学校千百十人才培养工程基金资助项目;吉林大学珠海学院"百人工程"骨干教师培养计划项目

摘　　要：楚乐在汉代广为流行,汉乐的发展中亦体现出楚乐浸润的痕迹。汉相和大曲不仅艺术上承续了楚乐的风格,作品结构形式上亦同楚乐有着承续关系。相和大曲曲式上有艳、解、趋、乱。"艳"本指楚地乐舞,后渐渐演变为相和大曲曲前的抒情成分;"乱"是楚声旧有之曲式,为相和大曲所吸收,位置仍在曲后,有收束完结之意。"解"与"趋"则是相和大曲在楚乐基础上发展起来的独特的曲式因素。魏晋六朝之时,相和大曲受吴楚新声的影响而有了新的变化,清商大曲进而产生,其"首"或"曲"的音乐地位同相和大曲的"解"是相等的,而其曲前的"和"与"送",亦源于相和旧曲。楚乐、相和大曲与清商大曲间呈现明显的音乐文学结构上的历史承续性和相对稳定性。Chu Yue was very popular in the Han Dynasty, while Han Yue also progressed with the feature ofChu Yue. Xianghe Daqu of the Han Dynasty not only carried forward the style of Chu Yue, but also closely connected with Chu Yue in structure and form. Xianghe Daqu has Yan（艳）, Jie（解）, Qu （趋） and Luan（乱） in style. ＂Yan＂ originally meant the music and song in the Chu State and prelude of Xianghe Daqu ; ＂Luan＂ was traditional musical form of Chu State, playing after music since thefuse of Xianghe Daqu and representing an ending of whole grand suite. ＂Jie＂ and ＂Qu＂ formed their own styles on the basis of Xianghe Daqu~ Chu Yue. In the Six Weijin Dynasties, Xianghe Daqu took new changesunder the influence of new sounds of the Wu and Chu Dynasties, then Qingshang Daqu emerged, whose Shou （首） and Qu （曲） shared the same position with ＂Jie＂ of Xianghe Daqu and whose He （和 ） and Song （送）came from Xianghe Jiuqu. Chu Yue, Xianghe Daqu and Qingshang Daqu show obvious historical inheritance and relative stability in the structure of musical literary works.

关 键 词：楚乐 相和大曲 清商大曲 曲式 

分 类 号：I207.22[文学—中国文学]