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作 者:马里扬[1] Ma Liyang
出 处:《南京师范大学文学院学报》2024年第3期57-69,共13页Journal of School of Chinese Language and Culture Nanjing Normal University
摘 要:《乐章集》存在“宋本”与“钞本”两个不同的版本系统,也是“静态”与“动态”两个不同的文本形态,两者突出的差异发生在宫调序列上。“钞本”卷上“大石调”之后以及“续添曲子”所见宫调“无序”的文本现象,是表演与现场最为原初的形态;而在“宋本”中则将“无序”的曲词规整地排列在各卷所属宫调之末尾。具备歌舞曲性质的《倾杯乐》,在文本结集中的加入与撤除,会导致宫调“无序”与“有序”迥然有别的形态。“散水调”与“大(石)[吕]调”《倾杯乐》,其宫调或来自琵琶调,与二十八调系统中的双调、黄锺调为异名同实,在“宋本”中都被误置于全书的卷末。“静态的文本”携带编集过程中的失误,“动态的文本”透露出歌筵舞席的讯息。作为早期词集,《乐章集》的形态实质上是特定“声音空间”中的“打令歌舞曲集”。词集中所见的“宫调”排序,同时又是其离开表演语境走向文学经典的标志。There are two different version systems of Yue Zhang Ji,namely the“printed text”and“scribed text”,represents“static”and“dynamic”text forms,and the prominent difference between the two occurs in the sequence of tunes.The phenomenon of“disordered”of tunes in the“scribed text”may be the most primitive textual form of the performance scene.The“printed text”neatly arranges the“disordered”tunes at the end of each volume of tunes.The addition and removal of Qing Bei Yue,which has the nature of a song and dance,will lead to a completely dif‐ferent form of“disorder”and“order”in the tune.The tunes of the San Shui tune and Da(Shi)[Lü]tune of Qing Bei Yue may come from the pipa tune,with different names but the same nature as the double tune and Yellow Bell tune in the 28-tone system.They are all mistakenly placed at the end of the book by the compiler in the“printed text”.The“static text”carries the mistakes made in the compilation process,and the“dynamic text”reveals the message of the performance scene,that is,the“singing feast and dance party”.As the textual form of the early collection of Ci poems,the Yue Zhang Ji is a collection of songs for singing and dancing in special space of sound.The appearance of tune in the text is a textual sign that the collection of Ci poems leaves the per‐formance scene and moves towards the classic literary text.
分 类 号:H207.23[语言文字—少数民族语言]
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