论文部分内容阅读
一、河流:曲子作为“母体”意义的揭示一件饶有意味而又值得深思的事情是,学界总以“河流”来比喻传统音乐文化的博大深邃与源远流长①,这反映出学界对中国音乐历史传承性和相通性的一种“共识”。20世纪40年代,杨荫浏于《中国音乐史纲》“词曲音乐”一节中精辟地指出:“词曲音乐中间,蕴含着古来大量的民歌,音乐家的创作,以及已与本国音乐相互融化而改变了面目的外族音乐。后来的合乐曲调,独奏曲调,甚至古琴曲调,或多或少,无不受到词曲音乐的影响。正像一道横贯多省的江河,它一路容纳了若干溪流的集注,而同时又分布它所接受到的众水于下流较低的平原。”②
First, the river: the song as “mother ” reveals a meaningful but worthwhile pondering thing is that the academic community always “river ” to compare the profound and long history of the traditional music culture ①, which reflects A “Consensus” of Academics on the Inheritance and Interconnection of Chinese Music History. In the 1940s, Yang Yin-bao made a brilliant point in the section of “Outline of Chinese Music” and “Song of Music”, stating that: “The middle of song and music contains a great number of ancient folk music and musicians, Music melts with each other to change the face of alien music later music, melody, solos, and even Guqin tune, more or less, all affected by the song music, just like a river across the many provinces, it all the way to accommodate a number of Streams concentrate, while at the same time distributing the waters they receive to the lower, lower plains. ”