《九宫大成》之“词乐”刍议  

Discussion of the Ci Music in the Collection of Nine Gongs

作　　者：何萃[1,2] 解玉峰[3] 

机构地区：[1]南京大学 [2]中国传媒大学南广学院 [3]南京大学文学院

出　　处：《浙江艺术职业学院学报》2012年第1期13-18,共6页Journal of Zhejiang Vocational Academy of Art

基　　金：国家社会科学基金项目"中国韵文文与乐关系之研究"阶段性成果。(项目编号:05BZW031)

摘　　要：乾隆初年编成的《九宫大成》历来被视为曲学之渊薮,其中也保存了许多值得注意的词乐资料,其价值或远胜于宋姜夔自度曲"旁谱"。从《九宫大成》对所收175首词作的订谱来看,其订谱原则与昆曲(南北曲)并无本质差异。《九宫大成》所存"词乐"是否为前代之遗存,其中有多少为两宋之旧,今人自可存疑。但如果说词唱、曲唱并无本质差异,南宋末的词唱水准可能与晚明的曲唱水准相当,《九宫大成》即使是按照南北曲的歌唱原则对词作进行订谱,也无可厚非,对今人而言,则是一笔极珍贵的文化遗产。The Collection of Nine Gongs of the early years of Qianlong reign has traditionally been seen as the origin of qu. It also includes important information of ci music, the value of which is more that of Jiang Kui＇ s scores. There is no essential difference between the principle to score a ci poem and kunqu opera （ southern and northern tunes） from the scores of 175 ci poems in the Collection of Nine Gongs. The agreement is not reached whether the ci music in the Collection of Nine Gongs is created by the previous generation or which ones are from the Song dy nasty. If there is no essential difference between the singing of ci and qu, and the singing level of ci in the Southern Song dynasty is close to the singing of qu in the late Ming dynasty, it is understandable to score the ci poems in the Collection of Nine Gongs in accordance with the singing principle of southern and northern tunes. It is a very pre- cious cultural heritage.

关 键 词：九宫大成 词乐 南北曲 昆曲 

分 类 号：J818[艺术—戏剧戏曲]