元明带过曲观念及其变迁  

Transitional melodies in the verses of Yuan and Ming

作　　者：时俊静[1] 

机构地区：[1]河北师范大学文学院,河北石家庄050024

出　　处：《河北师范大学学报（哲学社会科学版）》2015年第2期78-82,共5页Journal of Hebei Normal University(Philosophy and Social Sciences)

基　　金：国家社科基金青年项目(项目编号:11CZW037);河北师范大学博士基金项目(项目编号:S2011B04);河北师范大学青年社科基金项目(项目编号:W2009Q04)

摘　　要：元明并无"带过曲"的称谓,但从元明曲论、曲选对带过曲的评点、著录中,我们还是能看出当时人的带过曲观念及其变迁。元人的带过曲观念非常随意,甚至自相矛盾:有时将它看作一个整体,演唱时强调各曲牌间的的衔接;有时又随意拆分,作单曲看待。但元代曲选无一例外地将带过曲归入小令,表明二者相较,整一性仍然占据上风。至明代,带过曲入套现象普遍,带过曲观念与集曲观念合流,逐渐成为创制新调的方式之一,带过曲曲牌与单个曲牌的界限逐渐模糊。以此为参照,本文主张将带过曲归入小令,其本质是小令的联唱。The verses do not carry transitional melodies in Yuan and Ming dynasties,but the critics use the term in the later anthologies or commentaries.Likewise,the ideas of the transitional melodies are capricious or contradictory in that they are taken as cohesive devices or single melodies.Those melodies and multiplied melodies combined form creative verses.This paper assumes the transitional melodies as joints of the single melodies.

关 键 词：带过曲 小令 集曲 

分 类 号：I207.24[文学—中国文学]