相和歌辞研究三题  

An Exploration of Three Issues in Xianghe’s Lyrics

作　　者：郭丽[1] GUO Li(School of Literature,Capital Normal University,Beijing 100089,China)

机构地区：[1]首都师范大学文学院,北京100089

出　　处：《西北大学学报（哲学社会科学版）》2023年第6期26-31,共6页Journal of Northwest University：Philosophy and Social Sciences Edition

基　　金：国家社会科学基金一般项目“宋元乐府学典籍研究”(21BZW096)。

摘　　要：相和作为唱奏方式发源很早,至汉代更为盛行,并由此成为一类乐歌的名称。其具体唱奏方式包括器与器相和,器与人相和,丝、竹相继与人相和以及人与人相和。其歌辞并非源自百姓自娱的吟唱,而是职业艺人所唱之辞。郭茂倩《乐府诗集·相和歌辞》叙论称相和调包括平调、清调、瑟调、楚调和侧调五种调式,但在《乐府诗集》实际著录的相和歌辞中,却只收录了前四调的歌辞,并未著录侧调歌辞。这是由于郭茂倩编撰《乐府诗集》时参照的《宋书·乐志》因存在阙文而无侧调歌辞的缘故。在《乐府诗集》中,相和歌辞这一大类下又分相和六引、相和曲、吟叹曲、四弦曲、平调曲、清调曲、瑟调曲、楚调曲、大曲十五曲九小类,其中大曲十五曲并不是与其他八小类并列的一类曲调。Xianghe,as a form of singing,originated early and became more popular during the Han Dynasty,and thus became the name of a category of musical songs,whose specific forms of singing included instrument-to-instrument harmonisation,instrument-to-person harmonisation,stringed instruments,wind instruments and human harmonisation,and human-to-human harmonisation,and whose lyrics did not originate from people’s self-indulgent chants but from those sung by professional artists mentioned in the introduction to Guo Maoqian’s The Collection of Poems of the Yuefu:In this book,however,only the first four modes are included,and there is no mention of the Cediao,because there is no Cediao lyrics in The Yuezhi of Songshu,which was the reference for Guo Maoqian’s The Collection of Poems of the Yuefu.In the book,Xianghe lyrics are divided into the following categories:Xiangheliuyin,Xianghe songs,Yintan songs,Sixian songs,Pingdiao songs,Sediao songs,Chudiao songs,and fifteen kinds of Daqv songs.Among these categories,the fifteen kinds of Daqu songs are not a kind of tunes along with the other eight categories.

关 键 词：相和歌辞 唱奏方式 相和调 大曲十五曲 

分 类 号：I206.2[文学—中国文学]