摘要
散乐歌舞是唐五代曲子产生的前提,教坊乐渐变为唐曲子,是唐五代曲子辞"倚声"之源,唐五代曲子与唐"燕乐"无涉。柳永词的用调充分体现了唐五代词乐在北宋初期的延续,柳词的声情体貌,均源自"花间",与教坊俗乐紧密结合,既倚声"善为歌辞",又能"填腔"制撰新曲,"变旧声作新声",使之传播极广,接受甚众。苏轼以诗为词,是真正的"变伶工之词为士大夫之词",但由于不咏调名本义,脱离词乐声情,也使得词成为了案头文学,逐渐丧失其作为音乐文学的特质。
The stylistic tunes of the Tang and the Five Dynasties came from the sanyue songs and dances. The tone of Liu Yong’s ci reflects the continuity of the ciyue of this period in the early Song Dynasty. His ci is acceptable for both reading and singing, thus becoming very popular, while Su Shi is good at writing ci in the poetic way, which consequently deprives ci from the musical setting and turns it into literature for reading.
出处
《东南大学学报（哲学社会科学版）》
CSSCI
2007年第4期78-85,共8页
Journal of Southeast University(Philosophy and Social Science)
基金
国家社会科学基金项目"唐宋词的形式与艺术发展史"(04BZW024)成果之一
