宋代词人词作中的“词”之应歌形态  

The Singing Form of Song Dynasty Poet's“Ci”

作　　者：杨晓霭 YANG Xiao-ai(School of Chinese Language,Lanzhou University of Technology,Lanzhou 730050,China)

机构地区：[1]兰州理工大学文学院,甘肃兰州730050

出　　处：《聊城大学学报（社会科学版）》2020年第4期13-21,共9页Journal of Liaocheng University:Social Science Edition

基　　金：教育部哲学社会科学研究后期资助项目(20JHQ044):北宋词应歌史话研究。

摘　　要：宋人填词,旨在"应歌"。在歌曲完成中,"词人"既是词作者,又是观赏者,还是词曲合成时的品鉴者。他们对歌唱主体、表演方式、歌唱声情、歌唱功能的描述,往往是"身临其境"的真切反映。从词人词作描绘归纳词之应歌"实况",可以见出:词之应歌独重女声实为普遍现象;"缓歌""低唱""歌声细"之"声音软美"成为评价歌唱美听的主要标准;仅从词中出现的数量看,箫、笛、筝、琴等多种雅乐器伴奏远远超出竖抱弹拨、独领燕乐风流的琵琶;"板"确为"词"之歌唱不可或缺的伴奏乐器;"扇"则成为女子歌舞的最佳道具。应歌形态的繁富、多种乐器的伴奏,兆示了"词"之应歌场合的广泛性以及风格的多样性。囿于婉约、豪放的评价,显然不能适应"词"之应歌的多样形态。The purpose of Song Dynasty people’s Ci poem filling is to "Singing" . In the completion of the song, "Ci Ren" is not only the author, but also the spectator, as well as the judge of the composition of the word and music. Their descriptions of singing subject, performing method, singing voice and singing function are often the true reflection of "immersive" . It can be seen from the description of poet’s Ci poems that it is a common phenomenon that Ci only prefer to female voice;The main criteria for evaluating the beauty of singing are "slow singing" , "low singing" and "soft beauty of voice" of "fine singing";Considering the number of Xiao, Flute, Zheng, Qin and other elegant instruments in Ci poems, it is far exceeds of Pi Pa, which holds the plucked string and leads the wind of Yan music;"Ban" is indeed an indispensable accompaniment instrument for "Ci" singing;"Fan" is the best prop for women’s singing and dancing. The complexity of the form and the accompaniment of many kinds of musical instruments indicate the universality of the occasion and the diversity of the style of how Ci is able to be sung, however, those comments that are saying Ci singing is limited by politeness and boldness, obviously can not adapt to the development and change of "Ci" singing.

关 键 词：宋词人词 应歌 形态 

分 类 号：I206.2[文学—中国文学]