白居易新樂府音律表達藝術之研究

漢代古樂府原是指可以歌詠的宗廟頌歌或是民間歌詩，至於唐代先有「擬樂府」再有白居易等人的「新樂府」。在中國文學史裡，皆指出唐代之樂府已失去原本歌詠的功能，宋．郭茂倩《樂府詩集》：「儻採歌謠已被聲樂，則新樂府其庶幾焉。」由於白居易在新樂府的創作上，不但句式活潑多變，在押韻上更是精雕細琢，若千錘百鍊之藝術加工，因此而兼具音樂歌詠的功能，乃作者特有的創作手法。本論文係以語料的表列分析爲主要的研究方法，將白居易的五十首新樂府之韻腳，依《廣韻》爲標準，先翻查所有韻腳的韻目，再依次爲韻目的平仄、平上去入、陰陽入（韻尾），從上述的角度考察新樂府是否存在著規律性的節奏，以及音律所呈現的變化，藉此發掘新樂府在音律上的特色。

關鍵字

白居易；四聲；押韻；音律；新樂府

並列摘要

The Ancient Yue Fu in the Han Dynasty is a collection of poems and verses, used for praising the gods in temples, or as folk poetry. The Tang Dynasty had the 'Simulating Yue Fu' followed by the 'New Yue Fu' by poets such as Bai Ju-Yu. There is clear evidence indicating that the Yue Fu in the Tang Dynasty was no longer used for praise or worship. The Song Dynasty-Guo Mao Qian (Guo Mao Jing) said in his 'Yue Fu Prose Collection', ”The folk verses collected from earlier times contained more rhythm than those of the New Yue Fu.” The creations of Bai Ju-Yi in the New Yue Fu showed much variety and remarkable splendor. They were sophisticated in their utilization of rhyme, like an artwork with very refined touch. Therefore it must be considered to have been utilized for both music and praise concurrently; such was its level of creativity. Using current resources as its basis, this thesis will analyze rhyme foot from the fifty New Yue Fu poems from Bai Ju-Yi according to the 'Guang Yun' standards. Furthermore, analysis will be made on the sounds and tones of content-even and oblique tones, rising and departing tones, departing and entering tones, ying yang entering tones (rhyme ending)-to examine if there are any rules between the rhymes and how diversified is their rhythm. Thereby to discover any unrevealed parts of New Yue Fu rhythms that were not discovered by scholars in the past.