传统民歌发展史上有这样几个经典性的标本,并且带有各自独具特色的时代印记。一是《诗经》,学界共识是《国风》中大部分篇什是其时流行的民歌,蓬勃的生命力至今令人景仰。二是两汉乐府,其“感于哀乐,缘事而发”(《汉书·艺文志》)的秉性为后世叙事性韵文的创作树立了标杆。三是明清民歌。李梦阳的“真诗乃在民间”(《诗集自序》)说,为明代民歌的兴起作了理论上的储备,李开先、袁宏道、冯梦龙等人则是以编撰、鼓吹民歌的实践,为《挂枝儿》《劈破玉》等的流行起到了推波助澜的作用,最终成就了“我明一绝”(卓珂月语,见陈宏绪《寒夜录》)的奇妙景观。清代乾隆以后,民歌发展进入新的阶段,南北交汇,城乡交汇,雅俗交汇, There are several classic specimens in the history of the development of traditional folk songs, with their own unique imprint of the times. First, the “Book of Songs,” the academic consensus is that most of the “national style” is the popular folk songs of its time, vibrant vitality has so admired. Second, the two Han Yuefu, its “feeling sorrowful, fate and send ” (“Han Yi Wen Zhi”) the nature of the later narrative rhyme creation set a benchmark. Three is the Ming and Qing folk songs. Li Mengyang’s The True Poems Are in the Folk (Preface to the Collection of Poems) said that the theoretical reserve for the rise of folk songs in Ming Dynasty was that Li Kai-xian, Yuan Hong-dao, Feng Meng-long and others compiled and advocated the practice of folk songs for The prevalence of “hanging sticks” and “splitting jade” played a role in fueling the fantastic landscape of “I Ming Yi Jue” (Zhuo Yue Yu, see Chen Hongxu “Cold Night Recording”). After Qianlong in Qing Dynasty, the development of folk songs entered a new stage, where the intersection of north and south, the intersection of urban and rural areas, the intersection of elegant and popular,