Ci is a kind of music literature art with the prosperity of Yan music in Sui and Tang Dynasties.
Musically speaking, Ci is a by-product of the development of Yan music. From the literary point of view, Ci is a new creation that combines poetry and music. The prosperity of Yan music is a necessary prerequisite for the emergence of Ci style, and the establishment of Ci style is the inevitable result of music popularity. After three times:
First, the rise of Yan music in Sui and Tang Dynasties opened a new era of music, and also began the brewing and creation period of lyrics and songs. Liang has a new voice, but it belongs to the music system. The origin of tracing words can't go beyond the Sui Dynasty. Secondly, Yan's music is becoming more and more abundant, and the new voice provides sufficient musical conditions for the generation of ci. Tangjiao Fangqu is a collection of music in the prosperous Tang Dynasty. In the middle and late Tang Dynasty, pop music flourished and tunes surged. However, it should be noted that there are conditions and choices for music to develop into tonality. )
Thirdly, to meet the needs of society and music, long and short sentences and lyrics gradually developed, eventually replacing Tang Sheng's poetry and becoming a new poetic style parallel to ancient and modern poetry.
The first section, Yan Yue and Ci-the new tradition of China's combination of poetry and music.
Three stages of the development of ancient music in China
Ancient music in pre-Qin dynasty is elegant music, which is the joy of temples. Elegance and ode in poetry are poems of elegant music. Decline during the Warring States Period. Unable to compete with the emerging pop music, it finally had to die out. Elegant music in Tang and Song Dynasties is only an imitation of decorative etiquette.
The music of the Han, Wei and Six Dynasties was called Le Qing. Yuefu poetry is the lyrics of Qingqu. The beginning of Qing music is the harmony of three tones (flat tone, clear tone and musical tone), or the three tones of Qing business (palace, business and angle), which are in the Central Plains. During the Six Dynasties, Wu Ge and Xiqu were called Shang Qingle (Shang Qing was the main melody, so it was called Shang Qing), which spread in the south of the Yangtze River. However, compared with Yan music in Sui and Tang Dynasties, Qing music was calm and elegant, with a faint sound of hope, and gradually declined after entering the Tang Dynasty. It's just a tune with five tones in the Southern Tang Dynasty, or the aftermath of Qing music.
Yan music is the main accompaniment music of Tang and Song Ci. The new music popular in Sui and Tang Dynasties was called Le Yan. The origin of Le Yan can be traced back to the Wei, Liu and Zhou Dynasties in the Northern Dynasties. The division between the north and the south has caused the boundary between the north and the south music. In the northern minority areas, the old music of the Central Plains merged with the western Hu music, mainly Hu music, and gradually formed a northern music system different from Qing music.
After the reunification of the Sui Dynasty, Emperor Wendi of the Sui Dynasty collected and arranged seven pieces of "Elegant Music Outside", followed by nine pieces of "Yang Di".
Seven pieces of music in Sui Dynasty: Ji Guo (Xiliang Collection), Shangqing Collection, Koryo Collection, Tianzhu Collection, Anguo Collection, Qiuci Collection and Wenkang Collection.
Nine Songs in Sui Dynasty: Le Qing, Xiliang, Qiuci, Koryo, Tianzhu, Guo Kang, Anguo, Shule and Bi Li.
In the fourteenth year of Emperor Taizong's Zhenguan, peace and prosperity prevailed. Assistant judge Zhang Wen, collecting and creating Yan music, went to Li Bile. Combine them into ten Tang Dynasty songs.
Ten pieces of music in the Tang Dynasty: Le Yan, Shang Qing, Xiliang, Qiuci, Anguo, Guo Kang, Shule, Gaochang, Koryo and Tianzhu.
The main parts of Yan Music are Xiliang Music and Qiuci Music.
Five Dan and Seven Tones of Su Zhipo Pipa
Four strings: Palace, Jade, Shang and Jiao.
Seven tones: palace, business, horn, sign, feather, palace change and sign change.
The second section is Jiao Fangqu in Tang Dynasty-the origin of Ci and Qu in Tang and Five Dynasties.
Tangqu is divided into Daqu, Xiaoqu and Xiaoqu. Daqu has a complex structure and many times, up to dozens of times. This little song is a solo. Daqu is popular in the court, and most of the folk songs are miscellaneous songs.
The change from music to timbre is a re-creation process. The biggest difference between a piece of music and a piece of music is whether someone writes lyrics according to the piece of music.
First, Sui Qu.
Wang Zhuo's Biji Manzhi, Volume 1: "Since Gaisui, the so-called lyricists have gradually flourished and reached the peak in the Tang Dynasty", which holds that ci originated in Sui.
Second, Tang Qu
The developed music in Tang Dynasty started from Zhenguan to Kaiyuan and Tianbao.
Two Tang Dynasty song lists;
Taichang District 1
Taichang Temple is a specialized music organ, and the Music Department is one of the eight major departments of Taichang Temple. Da Yue recorded ten pieces of Tang Dynasty music. Taichangqu is of little significance to etymology.
2. Teaching workshop songs
Jiaofangqu is of great significance to the origin of ci tune.
Jiao Fang is a place where performers teach music, songs and dances. Xuanzong likes pop music. In order not to be restricted by the system of rites and music, he introduced pop music to the court. In the second year of Kaiyuan, an internal and external teaching workshop was set up. Penglai palace. There are two schools outside, Guangzhai Square on the right and Changle Square on the left. Good song on the right and good dance on the left. Luoyang also has two teaching workshops. Since then, Jiao Fang and Taichang have coexisted. Too often for the government, the main suburban temples; Jiao Fang is the court orchestra and the main banquet.
In addition, Xuanzong also opened a pear garden in the Forbidden Park in the northwest of Chang 'an. This music group cultivated by him is called "disciples of the Emperor's Liyuan". The inner and outer teaching workshops and the pear garden actually replaced the Taichang Temple and became the real music center at that time.
Jiao Fang's songs in the first and second years, ***324. Among them, Zaqu 278 and Daqu 46. The title of this song is recorded in Cui's Jiao Fang Ji. Jiao Fang's songs are rich in content, including singing, rap, singing and dancing, and even playing tricks. There are two forms of lyrics: seven-character Shi Sheng and long and short sentences, and 79 of them premiered as pronouns in the Tang and Five Dynasties.
There are more than 40 other songs, which were changed after entering the Song Dynasty.
Jiao Fang was dedicated to the court, but it only appeared in social places in the middle and late Tang Dynasty. The spread of Jiaofangqu has greatly increased. This musical environment and social environment are indispensable hotbeds for the growth of writing.
Up to now, more than 200 pieces of Jiao Fang's music have not been used as modes, which shows that it is conditional and selective to change modes. The reason for this is the following：
1) There are many words in zaqu, but few words in Daqu. Daqu is complex and restrictive, so it is not easy to be popular.
2) The choice of intonation also reflects the fashion of the times. Bodhisattva Man's ci style prevailed in the late Tang Dynasty, while Beggars' songs prevailed in the late Tang Dynasty. Words are written according to songs, and songs borrow words.
The third section, from taking ci as pleasure to defining ci with joy-the formation process of ci style.
The more new songs and tunes are popular, the more they need fashionable lyrics. It was fashionable to constantly replace old songs with new ones in the middle and late Tang Dynasty. At the same time, it is also a pleasure for poets to write lyrics for new voices and attach nouns to famous songs.
But it should be noted that lyrics and words are not the same concept. Many of Tang Yan's music poems are "vocal poems", but the "long and short sentences" based on music beat are relatively late.
Yuan Zhen's Preface to Yuefu Ancient Poems tells the difference between songs and poems. The differences are as follows:
One kind is poetry, "Re-evaluating music, often taking its words and degrees as music." Choose words with music, don't define words with music. This is "acoustic poetry", or "song poetry".
A northern song: "Because of the sound, the words are measured, the intonation is sung in knots, the number of sentences is short and the phonological difference is equal, all because of the accuracy." It's all about music, not choosing words to compose music. These are lyrics, lyrics, or short words.
The contradiction of modern poetry entering music: there is always a contradiction between neat sentence patterns and uneven music. Although you can make some changes in rhythm and singing when you enter music, it can't be completely solved, and the more complicated and changeable music is, the more difficult it is to overcome this contradiction. The only way out is to explore a new combination of poetry and music.
Song people s interpretation of the evolution of "seven-character song";
Shen Kuo's Meng Qian Bi Tan Volume V: On Harmony
Hu Zai's Tiaoxi Fishing and Concealing Conghua Volume 39: Theory of Virtual Sound
Zhuzhu genre volume 140: pan-sound theory,
All the above remarks are inappropriate, but in fact they all point out the contradiction between the May 7th poetic style and music. Music is the only way to define words, and harmony between sound and text is the only way out. It is a great breakthrough to follow the melody as a sentence.
Liu Yuxi first proposed this method. His two poems "Recalling Jiangnan" are self-explanatory: "Harmony with Lotte's Spring Poems, with the theme of" Recalling Jiangnan ".
Take the song as a sentence, break the neat poetic law, and make a sound with the article. It has entered the stage of lyrics according to the spectrum. This is the beginning of the establishment of ci style. After the Tang and Five Dynasties and the Northern Song Dynasty, this method became more and more complex and perfect, and finally formed a whole set of morphology different from poetry. Since then, the style of ci has developed independently and parted ways with poetry.
Shen Kuo's "Meng Qian Bi Tan", Volume 5, said that the lyrics entered the music from Wang Ya: "The Tang people filled the music with words and did not reuse harmony. Although the case began in Wang Ya, there were many people between Zhenyuan and Yuanhe, and some before Ya. "
Textual research on the authenticity of Li Bai's Enlightenment
In Song Dynasty, Huang Sheng (a native of Hua 'an) recorded seven poems by Li Taibai in his Selected Poems of Tang and Song Dynasties, in which Bodhisattva Man and Qin Yi 'e were regarded as the "ancestors of one hundred generations of lyrics and songs", and an uprising against Li Bai was predicted.
The name of Bodhisattva Manqu can be found in Jiao Fangji or Tianbao Arrangement. Qin Yi's ci was not recorded in the Tang and Five Dynasties. Li Zhiyi's poem "Qin Yi E" in the Northern Song Dynasty is annotated with "Taibai rhyme", which indicates that it was handed down by Li Bai at the end of the Northern Song Dynasty. Moreover, this word is different from that used in the Five Dynasties and the early Northern Song Dynasty. Ouyang Xiu, Feng Yansi and Zhang Xian don't seem to know about Li Bai's works. Obviously, the tune of Xiao Shengyan is later than their lyrics, and it was written by Li Bai.
Ci originated in Tang Dynasty and flourished in Song Dynasty. Tang ci is still in the stage of creation and initial development, and it is also a tributary of Tang poetry. In the prevailing environment of Yan Yue, it was nurtured and grown by the people in the prosperous Tang Dynasty, and gradually matured and formed under the influence of some famous poets in the middle and late Tang Dynasty. This is the general process of writing. At the same time, vocal music poetry has changed from prosperity to decline. It is difficult to determine which word is the originator of ci style. However, regardless of the fact that most modern literati ci originated in the middle and late Tang Dynasty, it is unrealistic to establish the style of ci in advance.
Chapter II Style of Ci
Poetry is inherited by words, and songs are produced by words. The origins of the three are one after another, but the boundaries have been set. The characteristics of ci style are partly evolved from poetic style, but more importantly, it is determined by poetic and musical nature.
The dependence between words and songs is that words are defined by songs and styles are defined by songs.
The first section of the creation of words-fill in the words according to the music score
Writing lyrics is different from writing poems, except that you compose music first, and then you compose music. Generally speaking, before matching words, you must follow the rules. "predecessors controlled the tune according to the law, and later generations filled in the words according to the tune." So we call the lyrics "lyrics".
There are two kinds of frequency spectrum used in lyrics: one is sound spectrum. Music is based on discipline, while words are based on examples. The first is the word spectrum, which is divided into different tones, and words are chosen as the rhythm of words.
Monotone spectrum
Music score is music score or song score, and tunes are recorded by music notation. It is a musical score made by musicians and musicians according to the rules of music. The earliest extant Tang spectrum is a copy of the Tang spectrum found in the Tibetan Sutra Cave in Dunhuang Mogao Grottoes in the early 20th century. 1908, French sinologist pelliot stole more than 6,000 volumes of cultural relics. It is now in the National Library of France (No.3808).
Jiang Baishi, a Taoist priest of Baishi, wrote only 17 songs. Not only sounds, but also words. Moreover, there are melodies and slow words, and the way of collocation of sounds and words is more complicated. It is an important artistic document to study the songs and lyrics of the Song Dynasty.
Double-word spectrum
The "Qu" in the Tang Dynasty is composed of music and words. There are also scores and words in Song Ci. When the word spectrum is replaced by phonology, phonology is lost for two reasons.
1) Writing words with joy means with joy. A lyricist must know music. Liu Qi, Mei Cheng and Baishi know each other and are good at law. But most poets may not fully understand the rules of music, and it is difficult to follow the music score completely. After the Song Dynasty, the sound spectrum was lost, and the so-called spectrum words can only be "the predecessors used the tone to control the tone, and later generations used the tone to fill the words".
2) The popularity of music in the Tang and Song Dynasties was mostly secular. When the notation of a song was lost, it became a masterpiece. Because some people write some words and tones, they are stereotyped by the rhythm of words, so they can spread independently.
Liu, Zhou and Jiang's ci actually played a role in replacing the song dynasty's ci spectrum.
Section 2 Formation of Ci Embroidery —— Taking Music as the Background
Quci is the form of a song, and the mode of words is a lyric form that conforms to a certain tune.
The difference between the tune of words and modern poetry;
1. A title with a title is a title, which indicates not only the music content, but also the nature of the title and the category of the music center. The tone of a word is named after the tune, not another name.
2. Most works in Tang and Song Dynasties have two sides. Lexical tone segmentation comes from music segmentation.
3. The position of rhyme is uncertain
Each piece of music is divided into several small pieces, which are called "Jun". One is a relatively complete music unit, where music "pauses" and "lives", and the tone of words is punctuated and rhymed here.
4. The sentence patterns are uneven
One is divided into several sections, which is called beat. A beat is a piece of music, called a phrase. Word clauses are related to the beat. There are priorities in the beat, so the tone of words is short and there are many words.
5, the combination of words and sounds is more complicated. Rhythm and melody are expressed in seven tones. The tone of the word matches the tone of the word. Its words are flat and flat, and Yin and Yang are clear and turbid.
The melody characteristics of the above words are the result of fixed style:
A Le Yi fragment
Filmmaker, start over. In the Tang and Song Dynasties, music was repeated paragraph by paragraph. Daqu is often composed of several times to dozens of flat films, which is called Daqu.
Divided into "small times." Picking one of them as the tone of speech is called "picking all over". Therefore, sharp songs are sharp times and slow songs are slow times. The theory of tune originates from Daqu and Faqu.
There are many segments in modern music, and most of the songs in Tang and Song Dynasties are segmented, with one to four segments and four kinds. Mainly two paragraphs. There are also four intonations: monosyllabic, disyllabic, trisyllabic and tetrasyllabic. Mainly two tones.
1, a tune becomes a tune, which is called monotonicity and one pass. One-way words often begin with the prefix, and some are later superimposed into two tones.
2. A tune composed of two paragraphs is called disyllabic. Disyllabic is the basic form of lyrics and songs. The front and back paragraphs are symmetrical or contrasted with each other. The front section is called the upper section or the front section, and the rear section is called the lower section or the rear section. At the end of the music, it is said that it was the same once. The distinction between up and down and before and after depends on the paragraph, but has nothing to do with the meaning. Here are some terms in disyllabic words:
Repetition: the upper and lower parts of disyllabic words are exactly the same, and they are repeated according to the original song. The first sentence in the upper and lower pieces is the same.
Big head song: The front and back paragraphs of polyphonic words are different (mostly slow songs), with the front short and the back long, and the front paragraph can be regarded as the head of the back paragraph.
Head change: If the first sentence of a disyllabic word is different, then the first sentence of the latter paragraph is head change.
Over: the first sentence of the second paragraph of the disyllabic word says over, which means that the music changed its meaning for a while and played a connecting role.
3, the music is three paragraphs in one tune, which is called three stacks. Three-fold words are divided into two categories: one is that the first two paragraphs are the same, which is called "overlapping song" and also called "double-dragging head" (such as Shuilongyin). The other Triassic is non-overlapping. Liu Yong's "Strange Stone" and Zhou Bangyan's "The Warrior Lanling" are just like this.
4. One song has four paragraphs and four stacks. Wu Wenying's Preface to Birds has four paragraphs of 240 words, which is the longest paragraph.
Second, poems that rhyme according to the word cavity are generally two sentences and one rhyme, regardless of ancient and modern styles. In addition to the rhymes of other sentences, there are rhymes that are sparse or dense, or even sparse or dense. Dense people have rhyme, while sparse people have even rhyme. This way varies from tune to tune.
Liu Yong's "Eight Tones of Ganzhou" consists of eight short pieces of music (eight averages) with eight rhymes. Use a period at the end of a paragraph when breaking words. If there is a seemingly rhyming word at the end of the non-Dun sentence, it is not rhyming.
There is also a question of choosing rhyme. In the Tang dynasty, the rhyme was flat, the word was flat, even, even and even, the three tones were mutual, the sound entered alone, and the rhyme was turned in the middle. Most intonations have specific rules.
Words are shaped according to music, so the definition of rhyme is more complicated than modern poetry. However, because rhyme is wider than poetic rhyme, words should be sung, so it is required to be close to spoken language and not stick to the so-called official rhyme. Three sounds go through the leaves, three sounds enter the school, and even the dialect rhymes. This is a great progress compared with poetic rhyme.