魏晋乐府诗的音乐文学特点及其文化学阐释
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摘要
中国文学的起源、发展历来是与音乐相生相伴的。作为音乐文学的重要分支——乐府诗也是如此。魏晋时代是乐府诗发展的转折期，本文即试从音乐与文化相结合的角度对此作一整体观照。
魏晋时代乐府诗的突出特点体现在雅乐范围的扩大、清商(旧)乐的盛行和魏晋大曲的出现三个方面。魏晋雅乐是取调民间音乐(俗乐)，文人制辞的宫廷音乐。它开辟新途，囊括了东汉时期的雅、俗乐。清商乐脱胎于相和三调，它以其特有的清越哀伤受到了当权者的喜爱和提倡。而其乐歌的性质正是它区别于以徒歌形式行世的相和歌的根本特征。魏晋大曲是器乐、声乐、舞乐三者联合表演的综合体，是清商曲高度发达的产物。魏晋大曲的音乐素材源自相和歌，曲调来自清商三调中的瑟调。
娱乐(人)化和文人化是魏晋乐府诗体现在文化上的特色。追根溯源，从音乐开始之初，音乐就有两类娱乐功能：娱神和娱人。笔者认为，两汉时代乐府诗的主体是雅乐作品，这是娱神功能在后代的体现；魏晋乐府诗从表演体制上来分析，有明显的世俗享乐主义特点，说明了这一时期乐府诗的功能指向是娱人。乐府文人化态势下的乐府诗，形式趋于齐整，内容成为了士人们立言写志的载体，开始出现了不和乐的乐府诗——拟乐府。这是文学剥离音乐，独立发展的显著表现之一。
Chinese literature always develops with music, so does Yuefu Poem. WeiJin Dynasty is a milestone in the development of Yuefu Poem. I have had a research on Yuefu Poem by combining music with culture in this thesis.
The features of Yuefu Poem in WeiJin Dynasty represent the enlargement of the Sacred Music, the prevalent of the Old Qingshang Music and the emergence of WeiJin Daqu. WeiJin Sacred Music comes from folk music and is made by literati. It consists of ancient and folk music. Qingshang Music comes from Xianghe descant and is advocated by the dominators because of its melodiousness and grief. The essential difference between Qingshang Music and XiangheGe is whether it is accompanied with music. The former is combined lyric with music, but the latter is intoned. WeiJin Daqu, the syntheses of instrumental music, vocality, and dance, is the mature production of Qingshang Music. The music materials of WeiJin Daqu derive from XiangheGe and its melody derives from Se-descant.
Amusement and literary are two features of WeiJin Yuefu Poem in the cultural aspect. From the origin of music, music has possessed two recreational functions: amusing jinni and amusing human. The main body of Yuefu Poem is the Sacred Music in Han Dynasty, which incarnates the function of amusing jinni. Performing system of Weijin Yuefu Poem characterized obvious epicurean. It indicates that its function has pointed to amusing human during this period. Yuefu Poem of literati has possessed the regular forms. Its content has become the carrier that expresses ideals. Furthermore, NiYuefu Poem, one of the branches of Yuefu Poem, has separated from music, which represented that literature has developed independently away from music.
魏晋时代乐府诗的突出特点体现在雅乐范围的扩大、清商(旧)乐的盛行和魏晋大曲的出现三个方面。魏晋雅乐是取调民间音乐(俗乐)，文人制辞的宫廷音乐。它开辟新途，囊括了东汉时期的雅、俗乐。清商乐脱胎于相和三调，它以其特有的清越哀伤受到了当权者的喜爱和提倡。而其乐歌的性质正是它区别于以徒歌形式行世的相和歌的根本特征。魏晋大曲是器乐、声乐、舞乐三者联合表演的综合体，是清商曲高度发达的产物。魏晋大曲的音乐素材源自相和歌，曲调来自清商三调中的瑟调。
娱乐(人)化和文人化是魏晋乐府诗体现在文化上的特色。追根溯源，从音乐开始之初，音乐就有两类娱乐功能：娱神和娱人。笔者认为，两汉时代乐府诗的主体是雅乐作品，这是娱神功能在后代的体现；魏晋乐府诗从表演体制上来分析，有明显的世俗享乐主义特点，说明了这一时期乐府诗的功能指向是娱人。乐府文人化态势下的乐府诗，形式趋于齐整，内容成为了士人们立言写志的载体，开始出现了不和乐的乐府诗——拟乐府。这是文学剥离音乐，独立发展的显著表现之一。
Chinese literature always develops with music, so does Yuefu Poem. WeiJin Dynasty is a milestone in the development of Yuefu Poem. I have had a research on Yuefu Poem by combining music with culture in this thesis.
The features of Yuefu Poem in WeiJin Dynasty represent the enlargement of the Sacred Music, the prevalent of the Old Qingshang Music and the emergence of WeiJin Daqu. WeiJin Sacred Music comes from folk music and is made by literati. It consists of ancient and folk music. Qingshang Music comes from Xianghe descant and is advocated by the dominators because of its melodiousness and grief. The essential difference between Qingshang Music and XiangheGe is whether it is accompanied with music. The former is combined lyric with music, but the latter is intoned. WeiJin Daqu, the syntheses of instrumental music, vocality, and dance, is the mature production of Qingshang Music. The music materials of WeiJin Daqu derive from XiangheGe and its melody derives from Se-descant.
Amusement and literary are two features of WeiJin Yuefu Poem in the cultural aspect. From the origin of music, music has possessed two recreational functions: amusing jinni and amusing human. The main body of Yuefu Poem is the Sacred Music in Han Dynasty, which incarnates the function of amusing jinni. Performing system of Weijin Yuefu Poem characterized obvious epicurean. It indicates that its function has pointed to amusing human during this period. Yuefu Poem of literati has possessed the regular forms. Its content has become the carrier that expresses ideals. Furthermore, NiYuefu Poem, one of the branches of Yuefu Poem, has separated from music, which represented that literature has developed independently away from music.
引文
1、《汉书》东汉班固撰 中华书局1962年校点排印本
2、《后汉书》刘宋范晔撰 中华书局1965年校点排印本
3、《三国志》晋陈寿撰 中华书局1959年校点排印本
4、《晋书》唐房玄龄等撰 中华书局1974年校点排印本
5、《宋书乐志校注》苏晋仁、萧炼子校注 齐鲁书社1982年排印本
6、《文选》梁萧统 唐李善注 中华书局1977年影胡刻本
7、《乐府诗集》宋郭茂倩辑 中华书局1979年校点排印本
8、《中国音乐史》日本田边尚雄撰 陈清泉译 上海书店1984年影印中国文化史丛书本
9、《中国音乐文学史》朱谦之撰 商务印书馆1934年排印本 有北京大学出版社1989年新印本
10、《“相和歌”曲调考》逯钦立遗著《文史》第14辑
11、《汉魏乐府风笺》黄节笺释 陈伯君校订 人民文学出版社1958年排印本
12、《汉魏六朝诗论丛》余冠英撰 古典文学出版社1956年排印本
13、《汉魏六朝乐府文学史》萧涤非撰 人民文学出版社1984年版
14、《乐府诗述论》王运熙撰 上海古籍出版社1996年版
15、《文心雕龙义证》南朝梁刘勰撰 詹锳义证 上海古籍出版社1989年排印本
16、《中国古代音乐史稿》杨荫浏撰 音乐出版社1964年版
17、《隋唐五代燕乐杂言歌辞考》王昆吾撰 中华书局1996年版
18、《汉乐府研究》张永鑫撰 江苏古籍出版社1992年版
19、《商文明》张光直撰 辽宁教育出版社2002年版
2、《后汉书》刘宋范晔撰 中华书局1965年校点排印本
3、《三国志》晋陈寿撰 中华书局1959年校点排印本
4、《晋书》唐房玄龄等撰 中华书局1974年校点排印本
5、《宋书乐志校注》苏晋仁、萧炼子校注 齐鲁书社1982年排印本
6、《文选》梁萧统 唐李善注 中华书局1977年影胡刻本
7、《乐府诗集》宋郭茂倩辑 中华书局1979年校点排印本
8、《中国音乐史》日本田边尚雄撰 陈清泉译 上海书店1984年影印中国文化史丛书本
9、《中国音乐文学史》朱谦之撰 商务印书馆1934年排印本 有北京大学出版社1989年新印本
10、《“相和歌”曲调考》逯钦立遗著《文史》第14辑
11、《汉魏乐府风笺》黄节笺释 陈伯君校订 人民文学出版社1958年排印本
12、《汉魏六朝诗论丛》余冠英撰 古典文学出版社1956年排印本
13、《汉魏六朝乐府文学史》萧涤非撰 人民文学出版社1984年版
14、《乐府诗述论》王运熙撰 上海古籍出版社1996年版
15、《文心雕龙义证》南朝梁刘勰撰 詹锳义证 上海古籍出版社1989年排印本
16、《中国古代音乐史稿》杨荫浏撰 音乐出版社1964年版
17、《隋唐五代燕乐杂言歌辞考》王昆吾撰 中华书局1996年版
18、《汉乐府研究》张永鑫撰 江苏古籍出版社1992年版
19、《商文明》张光直撰 辽宁教育出版社2002年版