唐宋《破阵子》词调演进疏证  

A Textual Approach to the Evolution of the Tune Dance of The Cavalry in the Tang and the Song Dynasties

作　　者：肖瑞峰[1,2] 杨珏沁 XIAO Rui-feng;YANG Jue-qin(School of Humanities,Zhejiang University of Technology,Hangzhou 310014,China;Department of Chinese Language,Zhejiang University,Hangzhou 310027,China)

机构地区：[1]浙江工业大学人文学院,浙江杭州310014 [2]浙江大学中文系,浙江杭州310027

出　　处：《宁波大学学报（人文科学版）》2021年第6期14-22,共9页Journal of Ningbo University：Liberal Arts Edition

基　　金：教育部哲学社会科学研究重大课题攻关项目“唐代文学制度与国家文明研究”(18JZD016)。

摘　　要：词调《破阵子》的兴衰可视为一部词体发展小史。该调出于唐法曲《破阵乐》,初以齐言声诗配乐。敦煌《云谣集》中今传最早的《破阵子》词已具双调小令体式,留有唐曲和声遗迹。南唐李煜时,该调趋于成熟,题材拓展、格调提升。至北宋,该调在体制谱式、题材主旨等方面继承与创新并行不悖。入南宋后,该调作者、作品数量显著增加,时代特色鲜明,而辛弃疾为集大成者。宋末,《破阵子》创作日渐衰落。The rise and fall of the Tune Dance of The Cavalry is a miniature history of the development of Ci styles.The tune was derived from the Tang Tune for the Faqu“Song of the Cavalry”,which was originally performed with regular rhythmic poems.The earliest Tune“Dance of the Cavalry”in The Cloud Ballads of Dunhuang have adopted the style of dual tune with relics of the harmonic Tang Tune.During the period of Li Yu in the Southern Tang Dynasty,the tune gradually matured,the themes expanded,and the style elevated.During the Northern Song Dynasty,the tune inherited and innovated at the same time of the style,the collection of tunes,the theme and keynotes.During the Southern Song Dynasty,the composers and quantity of the works to this tune increased significantly with distinctive characteristics of the times.Xin Qiji became a master of the Tune Dance of The Cavalry.At the end of the Song Dynasty,the composition of this tune gradually declined.

关 键 词：《破阵子》 唐曲 宋词 

分 类 号：I207.2[文学—中国文学]