《敦煌歌辭總編》研究_30602.pdf

1、摘要《敦煌歌辭總編》研究專業(yè)：中國古代文學(xué)申請者：羅嬋嬡導(dǎo)師：戴偉華教授《敦煌歌辭總編》是任半塘先生“唐藝學(xué)’’的總結(jié)性著作，具有歌辭總集與理論總編的意義。本論文是對《敦煌歌辭總編》的專書研究，從成書背景、編輯體例、理論旨?xì)w與個案研究四方面進(jìn)行。全文分正文與附錄部分，正文部分共分四章：第一章，《敦煌歌辭總編》與唐代音樂文藝研究。本章立足于任半塘先生的散曲學(xué)和唐藝學(xué)，觀照《敦煌歌辭總編》與唐藝學(xué)的關(guān)系，并從夏承燾先生的詞學(xué)日記中尋找在特殊

2、時代背景下兩位學(xué)者學(xué)術(shù)的交往紀(jì)實，探析《敦煌歌辭總編》成書的研究基礎(chǔ)，進(jìn)而闡述《敦煌歌辭總編》成書的過程及其意義。第二章，《敦煌歌辭總編》體用。結(jié)集研究首要關(guān)注的是編輯者的意圖，編輯者使用的概念、體例、結(jié)構(gòu)都是其學(xué)術(shù)理念的反映。本章從辨名開始，闡釋任半塘先生的編輯意圖，詳析《敦煌歌辭總編》的校訂理念及體例。第三章，任氏旨趣。從《敦煌曲初探》到《敦煌歌辭總編》，任半塘先生一直貫徹其關(guān)于唐五代歌辭的理論旨?xì)w，要求在研究工作中從資料出發(fā)，論斷

3、有據(jù)，務(wù)實不務(wù)虛；堅持“唐曲意識”，反對“唐詞意識”，摹寫敦煌曲子辭的真實狀態(tài)和彰顯盛唐文化；以“歌辭“的概念總括合樂的韻文體裁，重視民間作品，收錄宗教歌辭。第四章，《敦煌歌辭總編》考屑——從《傾杯樂》的衍變觀照唐曲?！秲A杯樂》的發(fā)生與發(fā)展囊括了唐五代曲不同角度的關(guān)鍵要素：音樂風(fēng)格的俗與雅、文學(xué)形式的齊言與雜言、樂調(diào)體制的雜曲與大曲、使用場合的廟堂與民間、琵琶樂譜的急曲與慢曲?！秲A杯樂》的曲譜、曲調(diào)、文辭、體式、歌舞以及它的使ARese

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