相和歌概念新解

New Interpretations to "Xianghe Song"

重理相和歌概念使用历史及其与清商曲的关系,可知汉魏六朝时,相和歌特指汉相和曲;经唐宋逐渐扩展,终成《乐府诗集.相和歌辞》含括多类的概念模式。古人把在曲辞及表演体制、艺术形式上与汉相和曲有密切渊源承续关系的相和引、吟叹曲、四弦曲、诸调曲等都归入相和歌,是符合相和歌历史实际的,体现了古人对相和歌动态发展的正确理解与合理总结,今人对相和歌概念范畴的争议莫定正是缺乏辨证分析与动态理解的结果。

In practice, the concept of ＂Xianghe Song＂ originated from the history and the relation with Qingshang Qu. But in the six Dynasties of Han and Wei, ＂Xianghe Song＂ especially referred to Xianghe Qu of Han Dynasty, which was developed through Tang and Song Dynasties into “Collection of Yuefu Poetry： Xianghe Songs”. The ancient people combined Xianghe Yin, Yingtan Qu （chanting melody）, Sixuan Qu （four-string melody） and Zhudiao Qu （multi- tone melody） which is closely related with and originated from Xianghe Qu in Qu Ci and in performance style as well as in artistic form into Xianghe Song, which is in line with historical reality of the Xianghe Song, showing the ancient people＇s correct under-standing and reasonable summary to the dynamic state of development of Xianghe Song. The uncertain con-troversy over Xianghe Song among the modern scholars is the result of lacking dialectical analysis and dynamic understanding.