古代乐谱中的辞乐合钞

Ci Yue He Chao in Ancient Transcriptions

对于古代歌辞研究,乐谱无疑是一种重要的文献,但一直被文史研究者忽视。缘此全面梳理古代乐谱中的歌辞记录情况,对历代乐谱中的"辞乐合钞"现象进行研究,发现隋唐之前至少通行两种记谱方法,一为声曲折,歌辞另录为"歌诗",显然辞乐分抄;另为文字谱,辞乐合钞现象普遍,时有因手抄讹误隔代不可晓解的情形发生。唐宋时期记谱法得到长足发展,记谱方式表现出多样化特点。因版印技术的普及,明清时期的乐谱中词乐以较规范的方式合钞而不再混淆,基本杜绝了声辞杂写的现象。

Transcriptions, doubtlessly a crucial source for research about ancient song and poetry, has always been ignored by scholars. My article looks into poetry in ancient transcriptions and investigates the phenomenon of Ci Yue He Chao. I find that there were at least two ways of transcribing： Sheng Qu Zhe, which transcribes music and poem separately; and Wen Zi Pu, which transcribes music and poetry together （Ci Yue He Chao）. The latter was common at the time and there could be false understandings to the transcription in later generations. Different methods of transcription with various features were extensively developed in Tang Dynasty. For the development of printing technique in Ming and Qing Dynasties, the methods of transcription gradually became standardized then