Shen Qian's Interactive Research On Lyrics And Music

Shen Qian,as a literary scholar who was good at songwriting and composing at the time of the Ming and Qing dynasties,his lyrics had the distinctive characteristics of melody,and the interaction between song and song was a characteristic phenomenon in Chinese literary creation.This article specially analyzes the interaction and integration between Shen Qian's words and songs.This article is discussed in three chapters.The first chapter summarizes Shen Qian's view of song and music and the factors that form it from the three subsections of Shen Qian's view of song and music,personal disposition,and life and social travel.Under the influence of ming lyrics,Shen Qian's words often contained songs,but the literary environment in which he lived at this time was a big "retro" banner,and the movement of the dignity body was in full swing.The change of the external environment collides with his own aesthetic interests,which makes Shen Qian emphasize both stylistic independence and the idea that the ququ can be included in the words.Combined with the materials,this paper reinterprets Shen Qian's view of song and song,and finds that Shen Qian's emphasis on stylistic independence is precisely the premise of songwriting interaction,and the conditions,methods,and degrees of interaction lie in "the nobleman's own luck".The second chapter focuses on Shen Qian's self-compose song,which is a very characteristic creative phenomenon in the Qing Dynasty,and Shen Qian happens to be the creator of self-compose song.Based on the literary phenomenon of "singing according to the times" in the word circle at that time,taking the musicality of the homology of the song and song as the starting point,this chapter examines and analyzes the tonal combinations of Shen Qian's 21 self-compose songs,and finds that most of the tones used by Shen Qian belong to the tune of the same name in the song,on the one hand,it shows that Shen Qian is very likely to use the method of "the same color can be collected" to create new tones,on the other hand,it also shows that even in the Qing Dynasty,when the words could not be sung,Shen Qian was also trying to restore the songworthiness of the words by drawing the method of composing.The third chapter takes the creative function of the song as the starting point,divides the three major functions of the song's entertainment,lyricism and communication into three sections,and analyzes and compares the "same" and "different" of the word and song in terms of writing content,language style and creative technique under the three major functions.It can be concluded that the interaction between the two genres under the entertainment function is the most obvious,followed by lyricism and the last communication,which is mainly related to the literary essence and development context of the two genres and the author's literary concept of "acting on a high foot".Shen Qian's special study of Shen Qian's works not only helps us to have a deeper understanding of Shen Qian and his works,but also provides an example for the interaction of Ming and Qing songwriting.