唐调吟诵的文体腔格与四象理论

Stylistic Melody and Sixiang Theory of Tang Recitation

唐调吟诵在继承桐城派文章源出六经以及阴阳刚柔理论的基础上,发展出了具有文体差异的吟诵腔格和依照四象理论的排腔原则。唐调吟诵儒家十三经使用读经调,而儒家经典以外的其他文体的吟调则逐次从读经调中化用出来。唐调普遍具有的高、低腔的程式化旋律对应着四象理论高低缓急的运用,并且可以在各种腔格中进行依字行腔,如此唐调既保持了自身特有的旋律特征,又保持字声的准确性,达到了情感与字音的统一。

On the basis of inheriting the Tongcheng's theory that all literature is from Six classics and is included in the style of yin,yang,strength and softness,Tang Recitation developes its own stylistic melody and composing principles to different types of literature in accordance with four-image theory.When it is used to recite Confucian Thirteen Classics,the chanting tune is used;otherwise,it will be dropped out of and changed from the chanting tune.It generally has high and low stylized melodies corresponding to the application of Sixiang Theory,and can be performed in various tunes according to the word line arragement.Therefore,the Tang melody not only maintains its own unique characteristics,but also the accuracy of the phonetic pronunciation which has achieved the unity of emotion and pronunciation.