並列摘要
The first section of this article points out that rime is not indispensible in songs, because it does not function here to assist memory and give unity of tone as it does elsewhere, since the tunes of songs have accomplished both. The second section explains that from the very beginning songs had always used oral rimes, until poetic rimes developed a classification system in the T'ang Dynasty and song writers adopted it. But even so, the riming of songs was never so strict as that of poems, and became progressively loose from the Five Dynasties to North Sung and to South Sung, owing much to the practice of dialectal reading of rime words. In the succeeding Yuan Dynasty, Chou Te ch'ing compiled the Chung-yüan yin-yün, and for the first time the rime system of songs was regulated. The last section of the article returns to discuss and defend the use of dialects in riming songs.
並列關鍵字
無資料延伸閱讀
- 陳怡萱（2010）。談歌仔戲音樂及唱詞語言旋律之結構。藝術欣賞，6(5)，105-108。https://doi.org/10.29479/AA.201010.0020
- 曾永義（1987）。聲情與詞情。中外文學，16(1)，126-133。https://doi.org/10.6637/CWLQ.1987.16(1).126-133
- 古兆申（2011）。歌之為言長言之也──曲唱發聲理論初探。戲劇研究，(7)，1-36。https://doi.org/10.6257/2011.7001
- 釋了意（2008）。Listening to the Music of the Spiritual Life。宗博季刊，(68)，4-4。https://doi.org/10.30158/ZBJK.200810.0001
- 呂珍玉（2015）。Issues Underpinning the Interpretation of the Book of Songs Beyond exegesis。興大中文學報，(37)，1-29。https://www.airitilibrary.com/Article/Detail?DocID=19914822-201506-201601280027-201601280027-1-29