论唐代“诗客曲子词”的体式特征及其对词体演进的贡献  

The Stylistic Features of“Ci Written by Poets”in Tang Dynasty and Its Contribution on the Form of“Ci”Poetry

作　　者：周韬[1] 邓乔彬[2] 

机构地区：[1]湖北民族学院文学与传媒学院,湖北恩施445000 [2]暨南大学文学院,广东广州510632

出　　处：《齐鲁学刊》2014年第6期109-116,共8页Qilu Journal

基　　金：国家社会科学基金西部项目"<白石道人歌曲>十七谱艺术形式研究"(12XZW011)

摘　　要：在词体滥觞的中晚唐时期,词所倚之"声"是俗乐"曲子"[1](P117)。其文体结构的形成与发展必得与"曲子"相辅相成,且深受曲体结构的约束。最初的"诗客"作"曲子",并非要将歌词当作一种单独的文体从曲子里剥离出来,相反却力求兼顾,以使文乐谐美。唐代文人既注重"倚声"谐唱以制词,又出于创作惯性引近体诗律为句,迈出了词体"律化"的第一步。"诗客曲子词"的出现,从文学和音乐两个方面提升了曲子辞的艺术成就,使文与乐更加紧密地结合在一起,为宋词的繁荣奠定了基础。At the very beginning of “Ci”poetry during mid-later Tang Dynasty,the“tune”that“Ci”poetry being composed was the“Folk Songs”.The form and development of its style had to be common with,meanwhile to be restricted by“Folk Songs”of the time.At the very beginning,poets composed such poetry for both good by reading and listening.They habitually derived rules and forms from clas-sical poetic composition while composing sentences.This came out the first step of“metrical poetry”of“Ci”poetry.The appearance of“Ci Written by Poets”at that time,promoted the artistic achievements,by which the Literature and Music were even more tightly coupled, thereby created the prosperity of“Ci”poetry.

关 键 词：俗乐曲子 诗客曲子词 乐曲结构 早期词体 倚声作歌 格律化 

分 类 号：I207.23[文学—中国文学]