"Poetry and Music Culture", by Xie Yufeng, September 2021 edition of Zhonghua Bookstore
Synopsis
Professor Xie Yufeng is a well-known scholar and doctoral supervisor of music studies at Nanjing University, and has authored "Research on the History of Chinese Drama in the 20th Century", "Huaya Victory - Opera of Southern and Northern Tuning", "Notes on the Collection of Flowers", etc.
In September 2021, "Poetry, Music and Music Culture" published by Zhonghua Book Company is the posthumous work of Professor Xie Yufeng, which is a collection of his important academic papers in the past ten years, signed by Professor Wu Xinlei, a famous scholar of opera studies, and prefaced by Professor Yu Weimin.
In this manuscript, Professor Xie Yufeng broke through the barriers of poetry and opera research, took "classical Chinese rhymes" as a clue, and through-examined the internal connections between poetry, words and music; broke through the barrier between literary research and music research, and grasped the internal laws of the development of classical Chinese rhymes with the "relationship between literature and music" as the entrance; took the problem consciousness as the starting point to clarify the key concepts and basic concepts of the evolution of poetry and song, and conducted a solid and meticulous debate on the "common sense" of literary history and opera history that has been formed for a long time.
Professor Xie Yufeng's academic achievements not only continue the tradition of music research in Nanjing University since Mr. Wu Mei, but also reflect the speculative spirit and academic style of contemporary scholars.
Contents
The Structure and Evolution of Chinese Rhymes
A hundred years of study of the Book of Poetry
Elegy Rheology Exam
Han and Tang Dynasty "Lefu poetry" dialectics
Should the Quan Tang Poems include "words"?
Reading "Three Hundred Poems of Tang Dynasty" is suspicious
Preface to the Notes on the Collection of Flowers
"Song" becomes "word": the evolution of long and short sentence rhymes
"Poetry becomes a word" speaks dialectically
The "Word Music" of the Nine Palaces Dacheng is discussed
"Qupai" is not divided into "south" and "north"
Southern opera could not have become a "set", and northern opera originally did not have to be divided into "folds"
On the signs of meta-tunes and their palace tones
Meta drama "Wedge" push examination
On the relationship between the "high cavity" and the "Yiyang cavity" and the "Kunshan cavity"
"Kunshan Cavity", "Kunqu Opera" and "Kunqu Opera" are distinguished
Also talk about the "Tang Shen controversy" in the history of qu science
Try Kunqu as a scribe culture
The song sings "word cavity" and "passing cavity" dialectic
The advance and retreat of the literati and the inheritance of kunqu opera for a hundred years
It also talks about the preservation of Chinese Kunqu as a "cultural heritage"
sequence
Yu weimin
Yufeng was my first doctoral student, after graduation, I stayed in Nanjing University to teach, stayed in the school for 20 years, conscientious, dedicated to teaching and scientific research, whether in teaching, or in scientific research, have achieved fruitful results. As a former mentor and colleague, he still mourns for it; all the relatives, friends, and fellow scholars who are familiar with Yufeng also lament the bad news.
On October 28, 2017, Professor Xie Yufeng held a seminar on quanming opera editing at Sun Yat-sen University (Photo by Zhang Shiyang)
Although Yufeng has left us forever, he has left us a series of high-level academic papers and works, and this book is one of them. Zhong Sicheng, the author of the Yuan Dynasty's "Record of Ghosts", believes that ghosts have "dead ghosts" and "undead ghosts", and whether they are "ghosts" is not determined by life or death, and some people are already ghosts although they are alive; some people are dead, but "undead ghosts".
If there are people who have knowledge but do not write about it, "in the way of learning, they are willing to give up", because there are no works left, "after death, they are indifferent", and they are not commemorated by future generations, such people, whether they live or die, are "dead ghosts"; and those who have both "high talent and knowledge" and have writings to survive in later generations, such as the composers at that time, although "the door is humble and the position is not vibrant", they create miscellaneous dramas, "all have records", and can be preserved in future generations, so such people are "undead ghosts".
According to this criterion of Zhong Sicheng, Yufeng is an "undead ghost", he has both "high talent and knowledge", and his writings have been preserved in future generations, commemorated by future generations, although he is still alive.
Yu Feng's work contains most of the articles that have been published in core journals, so it best represents his academic level and style of governance. In his short academic career, Yufeng has formed his unique style of governance. He is quick-witted, does not conform to the crowd, does not blind the conclusions of his predecessors, and dares to be different. Not only do they put forward their own opinions on topics that have not yet been studied by previous generations, but also discuss and study some topics that have been discussed and concluded by the academic community, and put forward new insights.
Ten Lectures on Poetry, Song and Music
The articles included in this book fully demonstrate this style of governance. For example, in his article ""Song" Becomes "Word": The Evolution of Long and Short Sentence Rhymes", he put forward new insights into the evolutionary relationship between poetry and song since the Ming and Qing dynasties.
Since the Ming and Qing dynasties, poetry has evolved into words, and words have evolved into songs, which has become a general knowledge in the academic circles. Yufeng questioned this stereotype in the history of literature for hundreds of years and expressed his own opinions, he believed that although the historical evolution of literature and art was restricted and influenced by the historical environment in which it lived, it also had its own unique evolutionary logic. For example, the historical relationship between "word" and "qu", from the perspective of the times, "word" is produced in the front, "song" is produced later, but the evolutionary relationship between the two cannot be explored only from the perspective of the times, such as from the perspective of the essential characteristics of the style, that is, from the perspective of the standardization and stability of the style, whether it is the song of the Tang Dynasty, or the northern and southern songs of the Song and Yuan dynasties, they were originally produced in the folk, and their style was not standardized; and the "word" was produced by the literati after the standardization of the non-standardized "song" of the folk style produced, according to this, The evolution of long and short sentence rhymes should not be the process of "word" becoming "song", but in fact the process of "song" becoming "word".
"Three Hundred Yuanqu Songs"
At the same time, he believes that the fundamental reason for the emergence of the concept of "poetry into words" and "words into songs" and becoming the mainstream concept in the history of literature for hundreds of years is due to the concept of "literature of a generation and a generation", that is, it is accustomed to corresponding a dynasty to a genre, the so-called "Tang poetry", "Song ci" and "yuanqu", thus linking the change of dynasties with the evolution of the style, Tang poetry evolved into Song ci, and Song ci evolved into yuanqu.
Since the Ming and Qing dynasties, the tunes listed in the melody and rhythm scores, until the modern academic circles discuss the tunes of opera and sanqu, have divided the tunes into two categories: southern and northern. Yu Feng also put forward subversive views on this in the article "Qupai" does not distinguish between "south" and "north".
He believes that the "musical body" of the "song card" is unstable, the same song card, in the process of singing, its melody will inevitably be different, or even completely different, while its style is relatively stable, each song card has a corresponding number of sentences, each sentence has a number of words, the specific requirements of the flat and the use of rhymes and other provisions. From the perspective of the style of the song, it does not matter whether there is a "south" or "north".
"Hua Ya Victory: The Opera of Southern and Northern Tones"
The "Tang Shen Controversy" that occurred in the music circles during the Ming Dynasty's Wanli Dynasty was an important issue in the history of Chinese drama and the history of Chinese literature, and Yu Feng's article "Also Talking about the "Tang Shen Controversy" in the History of Music Studies also put forward new views on this "old topic", arguing that although Tang Xianzu advocated "focusing on intention, fun, god, and color", he could not classify it as a "literary word" school accordingly, and considered it to be unruly.
In fact, the music of his plays is not only beautiful and moving, but also mostly rhythmic sentences, and it is recorded that his "Four Dreams" can be sung at that time. On the contrary, since Wei Liangfu changed the singing form of kunshan dialect to "according to the character sound cavity", the original cavity of the song plate was changed, and the same song card had a different cavity, and Shen Jing "jinjin returned to the ancient", to preserve the original ancient tone of the song card. This is inconsistent with the creative method of "following the sound of words" after Wei Liangfu reformed the Kunshan dialect at that time. Therefore, it is not possible to simply classify Tang Xianzu as a literary school and Shen Jing as a Gelug school.
But Yufeng's novelty and new insights are based on having detailed information. For example, the article "On the Labeling of The Meta Tune Plate and Its Palace Tune" respectively sorts out and examines the yuanqu literature that has not been marked by the palace tune and the yuanqu literature marked by the palace tune, and traces the documentary basis of the "North Nine Palaces" system of the "Zhongyuan Yin rhyme", through combing and examining a large number of metaqu literature, revealing the source and essence of the meta tune card palace tune label, and putting forward its own opinions, believing that the so-called "palace tune" is actually "artificially" created, not existing. The "North Ninth Palace" system was originally formally established by Zhou Deqing in the Yuan Dynasty, and in the middle of the Ming Dynasty, Jiang Xiao and Shen Jing imitated the "North Ninth Palace" and further constructed the "South Ninth Palace".
Research on the History of Chinese Drama in the 20th Century
For another example, in the article "Yuan Drama "Wedge" Push Examination", he put forward different views on the previous scholars' thesis that wedges include qu and Kebai, and are narrative structural units other than "folding", through the investigation of the use of miscellaneous drama wedges collected by "Yuanxian Miscellaneous Dramas", "Yuanqu Selection", "Yuanqu Selected External Compilation", "Changing the Legend of Yuanxian", "Ancient Famous Miscellaneous Dramas", "Ancient Miscellaneous Dramas", "Miscellaneous Drama Selections", etc., and put forward different views on the previous scholars' assertion that wedges include qu and Kebai and are narrative structural units other than "folding", believing that the meaning of "wedge" is only in terms of music, excluding Kebai, and "wedge" is not a narrative unit composed of Kebai. Rather, it is part of the core structure of the meta-drama, that is, the structure of the song body. Early meta-playwrights made wedges by accident, and later writers followed the examples of previous writers, and wedges were used more and more, which gradually became one of the structural components of meta-dramas.
At the same time, Yufeng's novelty is also based on rigorous and meticulous examination. For example, for a long time, the academic community has almost unanimously agreed that "Lefu poetry" is a category of ancient Chinese poetry, and Yufeng, in the article "Dialectic of Han and Tang "Lefu Poetry"", questioned this "general knowledge" of the academic community, and its examination was rigorous and meticulous, first of all, the setting and function of the music official offices of the previous Dynasties of the Tang Dynasty were examined, and secondly, the literature that first proposed the term "Lefu poetry" was the "Preface" of the famous literati of Liu Song Dynasty; third, the "Wenxin Carved Dragon", "Anthology", "Treatise on Classics", "Wenfu", "Wenfu" Fourth, the genre of "Lefu poetry" included in Guo Maoqian's "Lefu Poetry Collection" is analyzed, and it is pointed out that Guo Maoqian distinguishes between "Lefu poetry" and "non-Lefu poetry" based on whether or not to "enter the music", so there is no unified standard for the so-called "Lefu poetry".
Notes on the Collection of Flowers
Through layers of rigorous examination and analysis, he finally put forward his own opinion, believing that if it is not based on "text (style)" as the standard, but "music" as the standard to distinguish specific poems, then the concept of "Lefu poetry" is very extensive and all-encompassing. Therefore, it is not appropriate to take "Lefu poetry" as a special name for a type of "poetic style".
Attaching importance to the study of the relationship between literature and music, and combining textual research with the practice of Duqu, this is also a major feature of Yufeng Zhixue. Since Mr. Wu Mei put the study of opera on the university podium, Nanjing University has attached great importance to the close integration of textual research and the practice of Duqu, and has been passed on by Mr. Qian Nanyang, Mr. Wu Xinlei and other previous scholars, and has always maintained this academic tradition of Nanda Zhiqu.
"Wu Mei's Collected Treatises on Songwriting"
And Yufeng also inherits this tradition of NTU very well, he is familiar with the rhythm of music, can play the flute, can shoot music, not only opened a degree of music class, organized a music club, guided students to degree music, but also paid attention to the study of degree music theory. For example, the article "Qu Singing "Character Cavity" and "Passing Cavity" Dialectic" included in this book has studied and discussed the "character cavity" and "passing cavity" in the song, and although the concepts of "word cavity" and "over cavity" were put forward by Mr. Luodi, Mr. Luodi has not yet studied and fully discussed it in depth, and Yufeng has made a more in-depth study and discussion on this. Without the rich practice of degree music, it is impossible to make such a professional and meticulous exposition of the "word cavity" and "passing cavity".
In short, the articles included in this book all show Yufeng's academic standards and governance style, I believe that after publication, it will definitely attract the attention of the academic community and provide reference for today's and later researchers, and Yufeng will also be commemorated by future generations with the publication and survival of this book, becoming an "undead ghost".
Professor Wu Xinlei inscribed
Finally, he concludes with a small poem written when he learned of Yufeng's death, one is to commend his academic achievements, and the other is to mourn him: "The flute plays daya around liang, Liangfu Yuming meets Zhiyin; the pen writes a shocking essay, and Ning An Kasa Weng sighs profoundly." The young year shook and hurt people's hearts, and it was difficult to bear the sadness of the year; Nanyong has since the iron flute sinks, and Yaochi ushers in a long and short chant. ”
September 8, 2020 at the foothills of The Great Luo Mountains in Wenzhou