唐宋词乐与词律的文本学观照

Ci Music and Metrics:Tang and Song Lyric Poetry in Textological Perspective

词乐与词律的研究不应止步于历史形态的还原与构拟,而应走向理论体系的再出发。首先,唐宋词乐与词律不只是一个历时性的演化过程,而且也是一个静止的共时状态、一种独立的符号系统。与之相关的研究,也必然要求接续“东方学”语境中的“比较”研究的“文本转向”。其次,词乐研究中的音谱翻译与文辞的字声分析,从杨荫浏提出的“音势”说来看,具有相通性,反映出“声音”在文本之中有自身独具的美学方式,并非一种对于文字而言的辅助式的“意义”的传达。最后,词律“图谱”通过文本之间的“对照”,与音乐符号具有“共相”,理应脱离文字附庸地位而作为独立的符号系统来处理。

The study of ci poetry music and metrics should not be confined in the restoration and construction of historical form,but a restart of theoretical system.First,ci poetry music and metrics of the Tang and Song dynasties are not only a diachronic evolution process,but also a static synchronic state and an independent symbol system.The relevant research also requires the continuation of the“text-oriented”comparative study in the context of“Orientalism”.Second,the phonogram translation in the study of ci poetry music and the word sound analysis in ci poetry reflect that“sound”has its own unique aesthetic aspect in the text,not simply a kind of transmission of“auxiliary”meaning for the text.The similarities is just like the perspective of the“sound potential”theory put forward by Yang Yinliu.Finally,through the“contrast”between the texts,the“Atlas”of the word rhythm should be treated as an independent symbol system instead of being attached to the characters.