摘要
在对文献记载中的"拍"进行梳理的基础上,本文认为:(1)"拍"的主要含义有二,一是段落含义,一是节拍含义,其中又以节拍含义为主导;(2)唐代段安节《乐府杂录》中的"节拍"、南宋张炎《词源》中的"拍眼"以及《遏云要诀》中的"拍"等,皆是"拍"具有节拍含义的典型写照;(3)《词源》中的"拍眼"以及《遏云要诀》中的"拍"实已具有"板眼"之意,据此,明代的"板眼"理论可上溯至南宋时期;(4)南宋张炎《词源》等文献记载的"均拍"、"官拍"、"花拍"、"艳拍"的含义仍待细解。
After reviewing the concept of ＂pai＂ in the literature,this paper argues that ＂pai＂ has two meanings including paragraph markers and beat indicators,and the second meaning is dominant.＂Jiepai＂ recorded in Yue-fu Miscellany,＂paiyan＂ in Zhang Yan＇s Etymology and ＂pai＂ in Eyun＇s Key to Success all have the typical function of marking the beat,while ＂paiyan＂ in Zhang Yan＇s Etymology and＂pai＂ in Eyun＇s Key to Success have already functioned as ＂baiyan＂（beat in music）;therefore,the ＂baiyan＂ theory in the Ming Dynasty can be traced back to the Southern Song Dynasty.＂Junpai＂,＂guanpai＂,＂huapai＂ and ＂yanpai＂ recorded in such books as Zhang Yan＇s Etymology are yet to be explained.
出处
《文化艺术研究》
2011年第1期116-122,共7页
Studies in Culture and Art
关键词
拍
拍眼
板
板眼
节拍
pai
paiyan
ban
banyan
beat
