明清曲谱改易明人散曲问题分析——以《南曲全谱》《南词新谱》等曲谱为考察对象  

Analysis of the Changes of the Ming Sanqu in the Collection of Tunes of Quof the Ming and Qing Dynasties and the Related Problems

作　　者：刘英波[1] LIU Ying-bo(School of Chinese Language and Literature,Shandong Normal University,Jinan 250014,China)

机构地区：[1]山东师范大学文学院,山东济南250014

出　　处：《西华师范大学学报（哲学社会科学版）》2023年第1期33-40,共8页Journal of China West Normal University:Philosophy & Social Sciences

基　　金：国家社会科学基金项目(20BZW085)。

摘　　要：明清曲谱编纂者依据编纂目的与标准对所收录的部分散曲进行了程度不同的改易,这些改易既是出于规范创作、增强吟唱音腔效果的需要,也与编纂者的曲学主张、曲谱间的延承关系、区域内曲风的影响密切相关。曲谱对明人散曲的多数改易较为恰切,个别改易未能处理好音效与表意之间的关系。曲谱改易散曲文本的现象是具体实践行为,也是特定语境下的建构活动,具有不可忽视的文化价值与意义。According to the purpose and standard of compilation,the compilers of collection of tunes of qu in the Ming and Qing dynasties changed part of the collected sanqu to different degrees.These changes are not only due to the need to standardize the creation and enhance the effect of singing,but also closely related to the compilers ideas of music,the continuation relationship between music score and the influence of regional musical styles.Most of these changes were appropriate,but some of them failed to address the relationship between sound effects and ideographical expression.The phenomenon of changing the texts of sanqu in the music score is a concrete practice as well as a construction activity in a specific context,which has cultural value and significance that cannot be ignored.

关 键 词：明清曲谱 明代散曲 改易 《南曲全谱》 《南词新谱》 

分 类 号：I222.9[文学—中国文学]