Lyric music is a musical genre, that is, a lyric song that fills in the lyrics according to a certain tune. Tang and Song Dynasty lyrics and music are an important part of the mainland's literary and artistic history. The National Social Science Foundation of China (21BZW014) pointed out that the study of Tang and Song lyrics and music is unique from other fields of literature and art research, in that the basic issues, research objects, and materials involved in it need to be carried out from a comparative academic perspective, so as to further expand the study of Tang and Song lyrics and music.
Since the beginning of the twentieth century, the research on Tang and Song Dynasty lyrics and music and related fields at home and abroad has shown the characteristics of modernity that are different from the traditional studies of lexicology, music, history and philology in terms of the discovery and utilization of "new materials", multidisciplinary interdisciplinary and comparative research, and academic dialogue between the East and the West. The study of Tang and Song Dynasty lyrics and music is of great academic and historical significance, involving the origin of Tang and Song Yan music, the circulation of foreign music in the Tang Dynasty, the integrity of the music ecology of the Tang Dynasty, the text of Tang and Song Dynasty lyrics, the form of lyrics and music in the process of canonization of Song songs, the relationship between Tang and Song lyrics and lyrics, and the circulation of Song Dynasty lyrics and music in East Asia.
Traditional and modern Tang and Song Dynasty lyrics and music research
From the perspective of the scope of materials, without new materials, if new materials cannot be used, there will be no new knowledge. Compared with the traditional study of Tang and Song Dynasty lyrics and music, which started with the hand-me-down documents such as ritual books, music records, notes, words, poems, anthologies, and daily books, modern scholars have made full use of the Dunhuang manuscripts (music scores, dance scores, song lyrics, variations, etc.), and the newly discovered materials of ancient music scores handed down from Japan and Korea (instrumental scores and vocal scores such as Wuxian, pipa, zheng, sheng, and flute), and also paid attention to the "remnants of the sounds" such as temple music (such as "Zhihua Sijing music") and local folk arts (such as Shaanxi drum music and Fujian Nanyin) that are still surviving in East Asia The discovery and use of these "new materials" enriched and expanded the horizons of research, innovated and enhanced the concepts and methods of research, and even opened up a new academic realm.
From the perspective of theories and methods of academic research, the research on Tang and Song Dynasty lyrics and music in the 17th and 19th centuries by Fang Chengpei, Ling Tingkan, Chen Li, etc. is the so-called research in the traditional academic framework, and basically does not leave the scope of research and proofreading with literature examination as the core The demarcation presents a multidisciplinary research trend of musicology, linguistics, literature, history, archaeology, anthropology, etc., attracting scholars with different academic languages and different disciplinary backgrounds to participate.
From the perspective of academic research, early researchers involved in Tang and Song Dynasty lyrics and music, such as Ren Bantang, have been very concerned about the Japanese scholar Aoki Masa'er and other research on the origin of words; in the 60s of the last century, overseas scholars such as Zhao Rulan, Bi Keng, Li Huiqiu, etc., also absorbed Yang Yinliu, Xia Chengtao, and others in the process of translating Jiang Baishi's lyrics and music. In the 80s of the last century, music historians such as Chen Yingshi explored the issue of the diction of Dunhuang music, which was also a continuation of the study of ancient Tang music scores by Japanese scholars; at the end of the last century, Wang Xiaodun made positive responses and supplements to the achievements of Korean scholars in studying Goryeo Tang music, and Ge Xiaoyin's research on the origins of Chinese and foreign scholars' music and the translation of ancient music scores and Jiang Baishi's lyrics.
The study of Tang and Song lyrics and music started again
On the basis of the above academic research, we have further promoted the study of Tang and Song lyrics and music in the following five aspects.
The Modernity Transformation of Tang and Song Dynasty Lyrics and Music Studies. The uniqueness of the study of Tang and Song Dynasty lyrics and music is different from other fields of literature and art research in that the basic issues, research objects, and materials involved in it all need to be carried out from a comparative academic perspective. Comparison of ideas for cultural exchange. It is true that they are also the basic concepts and methods of the study of Tang and Song lyrics.
A New Perspective on Writing and Space. From the sixth to the ninth century, there are three major issues in the music history of the Tang Dynasty, namely, "Yan Music" as a musical system, the circulation and form of foreign music in the Tang Dynasty (taking "Su Mosha" as an example), and the relationship between the literati (Yuan Bai) and music and dance in the ninth century. It can be said that the discussion of this period is not only the source of Tang and Song Dynasty lyrics, but also the key to the occurrence of lyrics and music, and the formation of words. What distinguishes us from the previous studies of literary history and music history is that we choose to observe historical phenomena from the perspective of synchronicity and spatiality, that is, we are no longer entangled in the relationship between fathers, sons, brothers, close relatives and distant marriages of the subjects of study, but place historical phenomena in the historical space of action, and carry out a comprehensive perspective observation of their historical forms. We hope that such a study will shed new light on the etymological issues that have not yet been conclusively resolved.
The concept of "word and music text" was proposed. The textual problem of Tang and Song lyrics, that is, its documentary carrier and stylistic issues, was a key issue in the stereotype of Tang and Song lyrics and music texts from the 10th century to the 11th century. Again, this question is different from previous studies. Gai's predecessors were mainly concerned with the formation of words and the variation of words. We believe that the issue of word style cannot be discussed in abstraction, that is, the form of Qi Yan and long and short sentences must have a document carrier and different forms of style, which has been neglected in the past and is of great concern to the current academic circles. The scope of our research not only includes Dunhuang Quzi Ci, Huajian Ci and Jiang Baishi Ci carrying Song Ci Musical Notation, but also traces the musical notation of Qi Yan Song Poems, and makes special research on the Movement Collection, which has no music score but has a typical lyric and musical text form from around the 10th century ("The New School Version of the Movement Collection"), especially its palace tune and early lexicon form, and in addition to the Movement Collection, two other early lyric collections, the Flower Collection and the Zun Qian Collection, are the other two early lyric collections in addition to the Movement Collection We also provided a school examination with school discipline as the main content, which provided more evidence for the discussion of the relationship between word collection and word music.
Tang and Song Dynasty lyrics and music as "sound literature". The discussion of Halal Songs, Jiang Baishi Songs, Goryeo Tang Music, Dunhuang Music Scores, Biji Manzhi, Etymology, Shilin Guangji and other lyric and music literature focuses on two core topics. One of the core issues is the performance of Tang and Song songs. This is actually a question of the historical form of Tang and Song Dynasty words, and the previous discussion on this has been very cramped, with many guesses and few judgments, mainly because there is no open perspective to see this problem. We choose halal words to study, especially emphasizing that this is the twelfth century, that is, an important period of change in the history of mainland literature and art, what is the status of Song words in this period? This is something that not many scholars have been concerned about before, but in fact it is an important turning point in the evolution of Tang and Song Dynasty words and music, because Song words are becoming classical, also being literary, and they are entering a closed writing tradition, so where is its "sound"? This is what we put forward and discussed. Another core issue is the relationship between lyrics. Due to the scarcity of lyric music scores, this study has been limited to Jiang Baishi's songs, but now we can provide some evidence of correlation between Dunhuang songs and early lyrics. It should be pointed out that we do not agree with the hasty attempt to cooperate with the lyrics, but advocate the "comparison of lyrics", which will be more convincing and closer to the historical form, and at the same time, it can also connect the relationship between the lyrics from the early period to the time of Jiang Baishi and the thirteenth century, that is, the era when various forms of folk literature and art, including singing and earning, flourished and were recorded. In addition, "Goryeo Tang Music" is the only literature of Tang and Song Dynasty lyrics and music that has been circulated overseas, and it is also the proper meaning of the research topic, which cannot be ignored. (Produced by the "Thought Workshop" of the social science newspaper, the full text can be found in the social science newspaper and its official website)