明清时期燕乐调名实质的改变  

The Connotation Change of Names of Yanyue Modes in the Ming and Qing Dynasties

作　　者：杨善武[1] Yang Shanwu

机构地区：[1]河南大学传统音乐研究所,河南开封475001

出　　处：《南京艺术学院学报（音乐与表演版）》2024年第4期1-5,I0002,共6页JOURNAL OF NANJING UNIVERSITY OF THE ARTS:Music & Performance

基　　金：国家社科基金艺术学项目“中国音乐宫调史研究”(项目编号:14BD038)第十八章“燕乐宫调的沿革”部分内容整理而成。

摘　　要：元代以后南北曲所用燕乐调在调名上与宋代是一致的,但其用于表明某种调高、调式的实质作用却在明初以后开始改变。到了清代同样的燕乐调,其宫调含义已然失去,成了徒有虚名的存在。之所以如此,与文人曲词创作由注重音乐的依腔填词而为脱离音乐的依律填词有关,其根本原因在于元明清时期以戏曲为主流的民间俗乐发展的要求。正是在俗乐发展的推动下和其他因素的影响下,随着燕乐调名实质的改变,已有燕乐调终被后世广泛采用的工尺七调所代替。The names of Yanyue modes used in the northern and southern tunes after the Yuan Dynasty remained the same as those used in the Song Dynasty,but their role of indicating a specific key and mode changed after the early Ming Dynasty.During the Qing Dynasty,a Yanyue mode name no longer indicated a gong system.This change was due to a shift from literati writing lyrics according to music to writing lyrics according to rules and rhymes,and the root cause lies in the requirements of the development of folk music with traditional Chinese theatre as its main focus during the Yuan,Ming,and Qing dynasties.It is precisely under the impetus of the development of folk music and the influence of other factors that,with the connotation change of names of Yanyue modes,the established Yanyue modes were eventually replaced by the seven gong-che modes widely used in later generations.

关 键 词：明清时期 燕乐调 调名实质 曲词创作 俗乐发展 

分 类 号：J609.2[艺术—音乐] J612.1