文档介绍：姜夔词调音乐的风雅品格 II 姜夔词调音乐的风雅品格 III 姜夔词调音乐的风雅品格摘要姜夔词调音乐作品总体上表现出融雅济俗、化俗为雅的风雅艺术风貌,于此称之为风雅品格。南宋特殊的历史文化背景与其时主流的宋学思想,是其风雅品格形成的思想文化源头,原因在于南宋复雅思潮对姜夔词调音乐的风雅品格起到了促成和推动的作用,以及宋学思想对其词调音乐创作给以了重要启示。姜夔在其乐论代表作《大乐议》及其词调音乐作品的词前小序上,突出表达了其风雅音乐观。在其词调音乐的具体创作中,这种风雅音乐观则表现在其词调音乐作品集《白石道人歌曲》的曲调安排和词韵创作上。《白石道人歌曲》曲调的风雅品格追求分别呈现为其词调音乐的曲调结构、调式布局以及旋律进行三方面的雅化,其中,曲调结构的雅化是将不同的音乐表现手段灵活运用于其词调音乐作品之中,使用了严中有变的“换头”手法、追求一致的“合尾”手法,以及逻辑严密的乐句串联手段,以达到“严而有变,变而呼应”的雅化效果。调式布局的雅化具体表现为“起调毕曲”的守调观念和规范化的调式落音,用以完善作品的调式统一性,呈现出鲜明的风雅音乐观。旋律进行的雅化则具体表现为将雅乐音阶融入俗乐创作之中,并在作曲过程中将级进与跳进两种旋律进行手法完美糅合,以突出“融雅济俗”的风雅品格特征。《白石道人歌曲》词韵的风雅品格追求分别表现在其融情于景的创作方式和其唱腔与文辞的谐和处理上。其融情于景的创作方式主要呈现为以姜白石“四种高妙”意境论为理论支持的“以诗入词”、“虚处传神”的艺术手法上。其唱腔与文辞的谐和处理则表现为对固有创作方式“倚声填词”的理性突破和对去声字的雅化处理上, 即注重字调与音律的结合,使其作品的音乐性与文学性互为表里。姜夔词调音乐的风雅品格具有较高的历史地位和时代价值,其流脉极为深远,自南宋中末期至晚清时期,都可称为“姜夔的时期”。他将词调音乐从“凡井水处,皆能歌柳词”的俚俗地位,提升至“风雅兴寄”的正统派别,后世张炎、王沂孙、朱彝尊、汪森等词曲作家,皆沿袭其艺术造诣。关键词:姜夔;词调音乐;风雅;白石道人歌曲姜夔词调音乐的风雅品格 IV TheElegantQuality of Jiang Kui’s Poetry Music Abstrat Ci-poetry music of Jiang Kui in general has an artistic style which useselegance to make up vulgarity, makes the vulgarity be elegant. And it can also be called as artistic quality. The special historical and cultural background of Southern Song Dynasty and the thought of Song learning werethe thought source and historical cause of the formation of its artistic quality, which was mainly expressed as the facilitating and promoting function of the ideological trend of the revival of elegance in Southern Song Dynasty, and the important enlightenment of the thought of Song learning to Jiang’s poetic music, also the artistic music view reflectedby his ideas about music. The application of his theory to his Ci-poetry music was mainly expressed on the arrangement of the tune and the creations of the rhyme of Ci in his music collection “Songs by Taoist Baishi". The artistic quality pursuingof the tune in “Songs by Taoist Baishi"respectively represented as the elegance