“和声填实说”之文、乐新辨——兼论长短句之起源

A New Debate on the Text and Music of the Harmony Filling Theory and the Origin of the Long and Short Phrases

齐言声诗与长短句应为历史共存关系,而非经和声填实的前后发展关系。“和声填实说”剥离了声诗、长短句的音乐性,仅就声诗正辞与和声乐辞而言,不涉文、乐互证,故有偏颇。唐五代“和声”是和谐之声,是唱和之声,有谐和、调和之义。唐后文人对“和声”之性质多有延伸,有泛声、虚声、余声、衬声四种和声填实的变型。“和声填实”四种变型皆用于表示正格实辞以外之声腔,虽侧重点各有区别,但前提均为一字一音,而一字一音的观点夸大以字代谱的作用,不符合实际。诗、乐、舞的根本联系在节奏,声诗与长短句均与音乐密切相关,体式改变的根本原因在于音乐旋律曲式的增减,而非文辞字句上的变化。

Poems with regular-length lines and those with irregular-length lines should be in a co-existing relationship in history,rather than a successive developmental relationship of filling harmony.The harmony filling theory detaches the musicality of poems with regular-length lines and those with irregular-length lines,only in the main lyrics of poems with regular-length lines and the lyrics of harmonious voices,not involving the mutual verification of the text and music,so it is biased.The"harmony"in the Tang and Five Dynasties refers to harmonious sound and singing-in-response sound,with the meaning of harmony and coordination.After the Tang Dynasty,literati extended the nature of"harmony"in many ways,with four variations of filling harmony,namely,"overtones","fricatives","residual sounds",and"lining sounds",which were used to represent the vocal cavities other than the regular and real lyrics.Although each has its own emphasis,the premise is one character for one sound.However,the view of one character for one sound exaggerates the role of substituting characters for musical scores,which is not in line with the reality.The fundamental connection among poetry,music,and dance lies in rhythm.Poems with regular-length lines and those with irregular-length lines are both closely related to music.The fundamental reason for the change in form lies in the increase or decrease of the musical melody and form,rather than the change in literary expressions and words.