論唐宋曲子之源流

Developments in the Songs of Tang and Sung

張世彬(Cheung Sai-Bung)

《中國學人》 3期 (1971/06) Pp. 1-13+i

https://doi.org/10.30187/CS.197106_(3).0002

並列摘要

This article discusses the changes in current songs from Sui to South Sung in historical perspective. Its three main concepts are: 1. There is very little to be gained by talking about the origins of tz'u poetry if one only considers the librettos extracted from the songs. From the standpoint of historical development, this type of song originated at the time of Sui when Cheng I put forward the 84 Tunes. 2. Beginning in T'ang, a growing number of litterateurs not conversant with the musicology of songs took it upon themselves to provide librettos; this led to the gradual divorce of words and tunes in the songs of the North Sung Dynasty. In the end, the librettos came to stand on their own as a new type of poetry. This development may be considered as a movement towards literature. 3. Emperor Hui-tsung of North Sung set up the Ta-ch'eng Music Bureau in order to create a new kind of classical music which, he hoped, would eventually replace current vulgar music. This had important effects upon popular songs and initiated the development towards classical music. At the time of the South Sung, Chiang K'uei and Chang Yen continued on musical lines, while most other litterateurs showed a greater interest in literary development. What is to be noted here, however, is that both movements were retrogressive and, through neglect, tz'u songs were doomed to extinction. Supplanting tz'u were, again, vulgar songs of the populace, ＂chu kung tiao＂ and the like.