楚辞体音乐性特征新探——音乐符号“兮”的确立

The Musicality of the Chuci Style Revisited: the Establishment of the Music Symbol “Xi”

"兮"为楚辞音乐性的标志性符号,楚辞音乐性"标准器"的构建,基于"越歌"与"楚歌"的对译关系,也基于《渔父》中"歌"与"言"的对应关系。"兮"是音乐的泛声,文本中的虚字。传世《楚辞》,并非都是可歌的"楚歌",《渔父》篇"歌""言"之别即是确证。标明"楚歌"的作品,有"兮"字是音乐泛声的记音表现,而不带"兮"字的楚歌则是文本记载。传世《大招》在形式上是《招魂》的招辞部分,其中"魂乎归徕"与"魂兮归来"的差异,说明彼此的关系不是文本的模仿,而是对音乐记音的不同。《招魂》音乐结构的特殊性在于:从"兮""些"记音区分出不同角色的扮演,说明它具有仪式功能。"些"或为"止止"二字误写,或为""误写。

＂Xi＂is the symbolic symbol of the musicality of Chuci. The construction of the ＂standard＂for the musicality of the Chuci style is based on the translation of ＂the songs of Yue＂and ＂the songs of Chu＂and also on the relationship between the＂song＂and＂words＂in Yufu. 兮（ xi）,as a function word in text,is a vocal representation of musicality. Among all the writings belong to Chuci,those containing xi means that there＇s attempt to capture the vocal musicality of the songs,while those that do not have xi are simply purely textual transcription. The difference between＂hun hu gui lai＂（ Thy soul,return!） and＂hun xi gui lai＂（ Thy soul,ah,return!） is mainly musical rather than textual. The special musical structure of Zhaohun（ Sprit Evocation） lies in the fact that the 兮（ xi） and 些（ xie） can help distinguish different roles,indicating that it also serve ceremonial functions.＂些＂may be a misspelling of＂止止＂or＂＂.