作者：岳珍

机构：华中科技大学

中文关键词：隋唐燕乐;;词体起源;;民间音乐

英文关键词：the banquet music in the Sui and Tang Dynasties”, the source of ci-poetry, folk music

中文摘要：“隋唐燕乐”作为现代学术概念 ,指发端于隋完成于唐的二十八调音乐系统。“词起源于隋唐燕乐”的基本主张是词乐词调产生于二十八调。“五四”以来 ,“隋唐燕乐”说逐渐成为学术界普遍承认的定论 ,成为各种词体起源假说中最具有科学权威性的学说。李昌集先生《华乐、胡乐与词 :词体发生再论》否定燕乐生词说 ,是由于对“隋唐燕乐”的理解有误差 ;李文提出词起源于“唐代中华民间歌曲音乐”的新说 ,尚需提供具有实质意义的历史依据。

英文摘要：So-called “the banquet music in the Sui and Tang Dynasties” in the modern academic circles is meant by“the music system of 28 tones”, which was generated in the Sui dynasty and completed in the Tang dynasty. The fundamental notion of “the source of ci-poetry coming from the banquet music in the Sui and Tang Dynasties” is that the ci-poetry and its music came from “the music system of 28 tones”. Since the May Forth Movement, this notion has been widely accepted in the academic circles, and therefore become the most authoritative notion about the source of ci-poetry. Mr. Li Changji mistakenly denounces this notion in his paper The Second Dissertation on Chinese Music and Foreign Music as well as the Genesis of Ci-poetrybecause of his improperly understanding “the banquet music in the Sui and Tang Dynasties”. His proposition of “the source of ci-poetry coming from the folk music in Tang Dynasties” is still in need of some significant historical proofs.

[中文刊名]：文学遗产 [出版日期]：2004-09-20 [CN]：11-1009/I [ISSN]：0257-5914

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