“歌诗必类”新诠  

A New Interpretation of“Sing the Poetry Should Be Fit”

作　　者：吴安宇[1] Wu Anyu

机构地区：[1]湖南师范大学音乐学院

出　　处：《中国文化研究》2024年第3期53-63,共11页Chinese Culture Research

基　　金：国家社科基金重大项目“先秦乐学文献整理与研究”(17ZDA250)的阶段性成果。

摘　　要：“歌诗必类”是《诗经》学核心观念。两千余年来,以杜解孔疏中的“义类说”为核心,围绕诗义层面产生了丰硕的经义训释成果。但基于用乐层面的探求仍不够具体和完整,使得“歌诗必类”这一双维度的诗用观念阐释出现了“诗存乐亡”的瓶颈。通过梳理周秦文献并佐以存见《诗经》乐谱文献发现,《诗经》用乐在乐类、乐次、乐仪、宫调等层面普遍存在规定性和等级性。“各从义类、分乐序之”是一种新的诠释维度,强调在阐释“歌诗必类”观念时需注重文学之义与音乐之用的双重结合。“Singing the poetry should be fit”is a core concept in the studies of the Book of Songs.For over two thousand years,the opinion of yilei in comments of Du Yu and Kong Yingda has centered on the meaning of poetry,yielding significant interpretative achievements.However,the exploration based on the musical level remains insufficient and incomplete,leading to a bottleneck which refers to the situation that“poetry exists but music is lost”in the interpretation of the dual-dimensional concept of“singing the poetry should be fit.”According to documents from the Zhou and Qin dynasties,as well as the extant musical score documents of the Book of Songs,prescriptivity and hierarchy are ubiquitous among terms such as music genres,music order,music rituals,and music tunes.As a new dimension of interpretation,“categorizing according to meaning and arranging by the principles of music”highlights the necessity of combining literary meaning with music use in the interpretation of“sing the poetry should be fit.”

关 键 词：乐类 乐次 乐仪 宫调 分乐序之 

分 类 号：I0[文学—文学理论] J6[艺术—音乐]