Research On Ci-poetry Music In Ming And Qing Dynasties

The relationship between lyrics and music in ancient Chinese poetry has always been very close.Musicality is an important artistic feature of ci.As a form of music,Ci-poetry music has the characteristics of being compatible with Ci in literature.As a historical form of Ci-poetry music,Ci-poetry music in Ming and Qing Dynasties is closely related to traditional ci studies.Ci-poetry music is an important part of the study of Ci,which together with the literature study of Ci constitutes an organic unity of the study of Ci.Ci-poetry music of the Ming and Qing Dynasties has some characteristics of inheriting from the Tang and Song Ci-poetry music,and also has new characteristics of development under the background of opera and qu art of the Ming and Qing Dynasties.To carry out research on Ci-poetry music,to discuss the historical evolution of the development of Ci-poetry music in Ming and Qing Dynasties,as well as the characteristics of the coordination of sound and speech,is conducive to more clearly and intuitively discover the characteristics and rules of Ci-poetry music.Based on the academic background of the research on Ci-poetry music in the past dynasties and the research object of Ci-poetry music spread in the Ming and Qing Dynasties,this paper focuses on the study of Ci-poetry music in the Ming and Qing Dynasties and its closely related academic issues.This article through to the ci-poetry music of the modes of ancient Chinese music song,melody structure,melody and style make interpretation respectively,also literature word places and people sing,postures,significances,the subject of investigation,case analysis method for dynamic research with western musical works,words and music around the relationship between propositions,to individual music sings ci-poetry cooperate relationship analysis of music and language,In this way,we can accurately grasp the characteristic of "music literature" of Ci.First of all,the thesis makes a detailed investigation and sorting out of the theoretical literature and score literature of Ci-poetry music in Ming and Qing Dynasties to comprehensively and systematically understand the related literature and theoretical system involved in Ci-poetry music.After that,the lyrics music and related information in the score collection were identified and enumerated category by category and article by reference to the corresponding editions,authors and literature sources,and the lyrics and tunes involved in each score collection were cross-compared,and the reasons for the flourishing of the compilation and publication of music literature in Ming and Qing Dynasties were summarized.Secondly,the paper makes clear the development path of Gongdiao of Ci-poetry music in Ming and Qing Dynasties,and makes a statistical analysis of the specific use and distribution of Gongdiao in the unit of music scores of each Ci tone.Focusing on the sound and emotion theory of Gong Diao and combining with specific works,this paper analyzes the relationship between the use of Gong Diao and the sound and emotion in literature.Based on the historical period and collection of Ci Tone,this paper classifies,statistics and classifies Ci Tone.From the perspective of the system of ci and the composition structure of Ci-poetry music,this paper analyzes the relationship between the two in the combination of the system,summarizes the categories of the composition structure of Ci-poetry music,and discusses the "integration" of ci form and Ci-poetry music through specific examples.Thirdly,from the perspective of sound and syllable,level and oblique tone rigor and rhythm,this paper analyzes the application and integration of level and oblique word sound and music tone.This paper clarifies the relationship between rhyme position and melody from three perspectives: rhyme and "starting tune and biqu",rhyme position and music sentence reading,rhyme density and music melody.In addition,it explains the importance of song method to express the phonological position of words.It also answers the question of the relationship between the subject matter and the toning skill involved in the creation of Ci and Ci-poetry music,and thinks that the subject matter and the toning skill involved in the literary creation of Ci-poetry music can prompt the creation of Ci-poetry music to accord with the corresponding style of Ci-poetry music.Qinge works with lyrics of ci and tune are different from other vocal music forms of ci and tune music in Ming and Qing Dynasties.The "wen" and "music" in Qinge have both differences and consistency of inheritance.This chapter also summarizes the creation and style characteristics of Qinge music.In the end,the paper summarizes the morphological characteristics and changes of Ci-poetry music in Ming and Qing Dynasties at that time,mainly involving two creative levels of literature and music,including "inheritance" and "new change",and clarifies the value and significance of Ci-poetry music in Ming and Qing Dynasties for contemporary research.In addition,from the point of view of communication studies,the characteristics of the spread and development of Ci-poetry music are considered,the advantages of Ci-poetry music in contemporary communication are emphasized,and the future development direction of Ci-poetry music is recognized by the specific achievements of the activation of contemporary Ci-poetry music score and stage practice.Finally,by summarizing the methodological significance of Ci-poetry music research,the traditional "Tao" of Ci-poetry music research is shifted to the "technique" of contemporary specific academic research.