Modern Song Speech Research

This dissertation can be divided into five sections:Preface briefly reviews the study of neoteric lyrics, and then puts forward main ideas and studying methods of this dissertation.Chapter one examines neoteric lyrics from documentary point of view. By observing the collecting criteria of these lyrics in Yue-fu Poem Anthology, it focuses on two concepts---neoteric and sundry lyrics, which are two important concepts in determining whether it is a neoteric lyric or not Based on this concept, it redetermines the sphere of neoteric lyrics, by adding new items and correcting wrong ones in Yue-fu Poem Anthology edited by Guo Maoqian.Chapter two studies from a musical point of view. There are three sections in this part First, according to different kinds of musical offices to which the performers belong, neoteric lyrics is divided into three forms: Tai-Chang Palace Music, Jiaofang Pop Songs, Fa Lyrics in showplaces. Second, by reviewing developing history of Fa Lyrics in Neoteric lyrics, the author distinguishes Fa Lyrics with Fa Music, and then, taking several Fa Lyrics as examples, like Huofeng, langtang, and Shengmingyue, the author identifies one by one the names of all Fa Lyrics which have been kept till now. Third, though the central writing-place of Neoteric lyrics during the beginning and flourishing periods of Tang Dynasty is closely related with the palace, it moves, however, to the civilians after The An-shi Riot Therefore, writing center of Neoteric lyrics must move from the palace to the civilians.Chapter three is a discussion from the point of literature. Four questions are discussed here. Firstly, the cultural background of lyric's rising, that is, musical policies if Sui Dynasty. What's more, merging of southern and northern culture during this period is explored by taking the piece as typical examples---Ji Liaodong, written by Emperor Yang. Secondly, characteristics in mythos and contents of the poems which meet musical requirements are particularly discussed, by observing the poems' writing methods. Thirdly, the reasons why Palace Poems are still popular in early Tang Dynasty are explained, by recounting characteristics of Palace Poems which suit the musical forms. Fourthly, developing of mythos in the lyric Willow Branch and Xi Xiyan by Xue Daoheng are specially reviewed here.Conclusion part gives a brief reviewing of the main questions discussed in the above three chapters: definition of neoteric lyrics, that is, what kind of lyrics could be called the name; questions related with music---its performers, central writing-places and Fa Lyrics; questions about literature---cultural background, mythos characters and contents.