宋代乐论与诗声理论融通的三个向度  

Three Dimensions of the Integration of the Musical Theory and Poetic Theory in the Song Dynasty

作　　者：李国新[1] LI Guo-xin(Southwest Forestry University,Kunming 650224,China)

机构地区：[1]西南林业大学,昆明650224

出　　处：《云南大学学报（社会科学版）》2021年第4期69-75,共7页The Journal of Yunnan University:Social Sciences Edition

基　　金：国家社科基金西部项目“魏晋南北朝诗声理论研究”(项目号:19XZW001);云南省哲学社会科学规划项目“宋代诗声理论研究”(项目号:YB2018054)的阶段性研究成果。

摘　　要：宋代诗学及其诗声理论影响着宋代乐学的理论发展与成就,并形成互联互通,较突出的理论是“声词相从”说、“乐为诗作”说和“声转机萌”说。这一融通来自于对先秦“诗言志,歌永言,声依永,律和声”之诗乐合一观念的解释与发扬。“声词相从”说追求声意相谐,最高境界是“声中无字”“字中有声”;“乐为诗作”说强调乐为诗流、志本声用,并批判了宋代诗学与乐学上流行的“声依永”之观念;“声转机萌”说要求声韵要转换、歌诵需转喉等。这些理论是先秦诗乐合一观念的发展,特别是这一观念在宋代诗词曲乐中声律或声音等技巧层面上的具化。The poetics of the Song dynasty and its poetry-sound theory influenced the theoretical development and achievements of musicology in the same period,and formed their interconnection.The prominent theories are the theory of“Sounds and Words in Harmony”,the theory of“Music for Poetic Creation”and the theory of“Rhyming Transformation”.This integration of poetry and music comes from the interpretation and development of the concept of the unity of poetry and music in the pre-Qin period based on“poetry expresses aspirations and wishes,and rhyming and rhythm are of necessity”.The theory of“Sounds and Words in Harmony”advocates the harmonious sounds whose highest realm is“wordless expression”and“sound-word integration”;the theory of“Music for Poetic Creation”emphasizes that music comes from the evolution of poetry and the origin of“aspiration”,and criticizes the popular concept of“sounds depending only on proper diction”in the poetics and musicology of the Song dynasty;the theory of“Rhyming Transformation”stresses the transformation in rhythm and in vocal output in different singing styles.These theories are the development of the integration of poetry and music in the pre-Qin period as well as its manifestation of rhythms or vocal skills of the classical poetry,Ci poetry and musicology in the Song dynasty.

关 键 词：诗声理论 宋代乐论 声词相从 乐为诗作 声转机萌 

分 类 号：I206.2[文学—中国文学]