元代入乐琴曲及琴曲歌辞考略与制曲特点

A Brief Study on Yuan Qin Music and Lyrics and their Compositional Characteristics

元代有相当数量的入乐琴曲,陶宗仪《听琴行》一诗中提及的琴曲就达40首,通过对琴曲文献的梳理和元人相关诗词的分析,可考证这些琴曲在当时都曾配入弦乐歌唱。另辑考元代琴曲或琴曲歌辞7首,此外还有13首“待歌”之琴曲歌辞,因此元代可入乐琴曲、琴曲歌辞综合统计为59首。元初琴曲多为宋元时期新制曲调,具有以旧曲造新声的制曲特点。在元代民族融合的大一统社会背景下,元代后期传统古琴曲的淡钝之音已完全淹没在新声琴曲“纤秾哀怨,切促险躁”的音调之中。

Yuan guqin tunes abound,and there are forty guqin tunes mentioned in Tao Zongyi's poem Listening to the Guqin.By cross-referencing guqin tunes-related literature and analyses of related Yuan poems,it appears that these tunes were meant to be accompanied by lyrics.There are seven additional Yuan guqin scores or lyrics,and thirteen lyrics"awaiting to be sung".Therefore,the total number of Yuan tunes and lyrics amounts to fifty-nine.Most of the scores in the early Yuan dynasty were remakes of older Song versions and thus presented the characteristics of new songs set to old melodies.In the context of the great social unification and ethnic integration of the Yuan dynasty,the dull sound of traditional guqin music in the late Yuan dynasty was drowned in the"delicate and plaintive,urging and impetuous"tones of newer guqin tunes.