周德清《中原音韵》的曲学理论  

Theories of Folk Art in Zhou Deqing's Zhongyuan Yinyun

作　　者：俞为民[1] 

机构地区：[1]南京大学文学院,南京210093

出　　处：《文化艺术研究》2013年第1期67-80,共14页Studies in Culture and Art

基　　金：2010年度国家社会科学基金艺术学国家重点项目<中国古代戏曲理论史通论>(批准号10AB002);国家"985工程""汉语言文学与民族认同"哲学社会科学创新基地资金项目

摘　　要：周德清的《中原音韵》不仅是一部语言学论著,而且也是一部曲学论著,对乐府北曲的曲体特征与语言风格作了论述,提出了文律兼美主张。他所编撰的以中州音为基础语音的曲韵韵谱,首次对北曲的语音作了规范,其中平声分阴阳、入派三声的论述,在语言学和曲学上都有着重要的意义。《正语作词起例》中所设置的曲调格律谱,不仅给曲家提供了具体的借鉴,而且也对后世北曲谱的编撰产生了重要影响。Zhongyuan Yinyun（literally meaning ＂The Phonology of the Central Plains＂） written by Zhou Deqing is a book on not only linguistics but also study of folk art.It discusses the music form and language style of Yuefu Beiqu（operas popular in the North of China） and puts forward the idea that the text and tune should be equally beautiful.He composed a rhyme dictionary with the language of central plains as the phonetic basis and rendered the first specifications regarding the sound of Beiqu,among which the concepts of dividing the level tone into yin and yang as well as entering tone as the third tone have a significant meaning in linguistics and study of folk art.

关 键 词：《中原音韵》 乐府北曲 平分阴阳 入派三声 曲谱 

分 类 号：I207.37[文学—中国文学]