Chapter 1 The Origin of Ci
Ci is a kind of music literature and art that arose with the rise of Yanle in the Sui and Tang Dynasties.
From a musical perspective, lyrics are a by-product of the development of Yanle. From a literary perspective, poetry is a new creation that combines poetry and music. The prosperity of Yanle is a necessary prerequisite for the emergence of Ci style, and the establishment of Ci style is the inevitable result of the popularity of music. After three periods:
First, the rise of Yanle in the Sui and Tang Dynasties opened up a new music era and also began the gestation and creation period of lyrics and music. (There are new sounds in the Song, Liu, Liang, and Chen generations, but they belong to the Qing Dynasty and Shang music systems. Tracing the origin of Ci cannot go beyond the Sui Dynasty.) Second, the increasingly prosperous and new sounds of Yan music created enough music for the production of Ci. condition. (Tang Jiaofang music is a collection of music in the prosperous Tang Dynasty. In the middle and late Tang Dynasty, folk music flourished and tunes multiplied. However, it should be noted that the development of music into lyrics and tunes is conditional and selective.)
Third, adapt to social needs In line with the requirements of music, long and short sentence lyrics gradually developed, eventually replacing Tang poetry and becoming a new poetry style parallel to ancient and modern poetry.
Section 1, Yan music and lyrics - the new tradition of combining poetry and music in my country
Three stages of the development of ancient Chinese music
Pre-Qin ancient music It is elegant music, the music of the temple. The Ya and Song in "Poetry" are elegant music poems. It declined during the Warring States Period. Unable to compete with the emerging secular music, it had to perish in the end. The elegant music in the Tang and Song Dynasties was just a simulation of decorating etiquette.
The music of the Han, Wei and Six Dynasties is called Qingyue. Yuefu poems are lyrics that match Qing music. The beginning of Qing Yue is the three tunes of Xianghe (Ping tune, Qing tune, Se tune), or the three Qing Shang tunes (Gong, Shang, Jiao), which are popular in the Central Plains. The Wu songs and Western songs of the Six Dynasties were called Qing Shang music (because the Qing tunes were mainly Shang, so they were called Qing Shang) and were popular in the south of the Yangtze River. However, compared with Yan music in the Sui and Tang Dynasties, Qing music was calmer and gentler, and the sound was rare and light. It also gradually declined after entering the Tang Dynasty. Only some Wuyin and Yue tunes from the south in the Tang Dynasty were the aftermath of Qing music.
The accompanying music of Tang and Song lyrics is mainly Yan music. The new music popular in the Sui and Tang Dynasties was called Yanle. The origin of Yanle can be traced back to Wei, Liu and Zhou in the Northern Dynasties. The North-South split created a musical divide between North and South. In the northern minority-dominated areas, the old music of the Central Plains merged with the Hu music of the Western Regions, with Hu music as the mainstay, gradually forming a Northern music system that was different from Qing music.
After the unification of the Sui Dynasty, Emperor Wen of the Sui Dynasty compiled and organized the Northern and Southern music, and added seven parts of music to Yale, and Emperor Yang of the Sui Dynasty added nine parts of music.
Seven music genres of the Sui Dynasty: Guo Ji (Xiliang Ji), Qing Dynasty Shang Ji, Goryeo Ji, Tianzhu Ji, An Guo Ji, Qiuci Ji, Wenkang Ji
Nine music genres of the Sui Dynasty: Qing Yue, Xiliang Ji , Qiuci, Goryeo, Tianzhu, Kangguo, Anguo, Shule, Libi
In the fourteenth year of Zhenguan in the Tang Dynasty, Taizong pinged Gaochang and gained Gaochangle. He sent Xielu Lang Zhang Wen to collect and build Yanle, and went to pay tribute to Bile. Together they form the Ten Music Departments of the Tang Dynasty.
Ten music genres of the Tang Dynasty: Yanle, Qingshang, Xiliang, Qiuci, Anguo, Kangguo, Shule, Gaochang, Korea, and Tianzhu
The main part of Yanle is Xiliang music and Qiuci music.
The Five Dan Seven Tunes of Su Zhipo's Pipa
Four strings: Gong, Yu, Shang, Jiao
Seven tunes: Gong, Shang, Jiao, Zheng , Yu, Bian Gong, Bian Zheng
Section 2: Tang Jiaofang Opera - the origin of lyrics and tunes in the Tang and Five Dynasties
Tang Opera is divided into major songs, minor songs and minor songs. The Daqu has a complex structure and a large number of repetitions, up to dozens of times. The ditty is a single score and sung singly. Daqu was popular in the court, while folk songs mostly consisted of miscellaneous songs and small songs.
Transforming from music to lyrics is a process of re-creation. The biggest difference between the lyrics and the melody is whether someone writes the lyrics according to the score.
1. Songs of the Sui Dynasty
Volume 1 of Wang Zhuo's "Biji Manzhi": "Since the Sui Dynasty, the so-called music has gradually become popular, and it was slightly more prosperous in the Tang Dynasty." It is considered that Ci Started in Sui Dynasty.
2. Tang Opera
The development of music in the Tang Dynasty began in Zhenguan and reached its peak in Kaiyuan and Tianbao.
Two lists of music titles in the Tang Dynasty:
1. Taichang Songs
Taichang Temple is a specialized music institution, while Da Le Department is Taichang Music. One of the eight departments of the temple. The Ten Music Departments of the Tang Dynasty were recorded in the Da Le Department. Taichangqu has little etymological significance.
2. Jiaofang Qu
Jiaofang Qu is of great significance to the origin of lyrics and tunes.
Jiaofang is a place where music, singing and dancing are taught. Xuanzong loved secular music. In order to avoid the restrictions of the Taichang ritual and music system, he introduced secular music into the palace. In the second year of Kaiyuan, he set up internal and external teaching workshops. Inner side of Penglai Palace. The outside is divided into two buildings, Guangzhaifang on the right and Changlefang on the left. The right one is good at singing, the left one is good at dancing. There are also two teaching workshops in Luoyang. From then on, Jiaofang and Taichang coexisted. Taichang is a government office and hosts the suburban temple; the Jiaofang is the palace orchestra and hosts banquets.
In addition, Xuanzong set up a pear garden in the Northwest Forbidden Garden of Chang'an. This music group trained by him was called the "Emperor's Pear Garden Disciples". The inner and outer teachings and the Liyuan actually replaced Taichang Temple and became the real music center at that time.
There are 324 Jiaofang songs from the Kai and Tian years. Among them, there are 278 miscellaneous songs and 46 large songs. The title of the song is recorded in Cui Lingqin's "Jiaofang Ji". Jiaofang songs are rich in content, including singing, rapping, singing and dancing, and even acting and teasing. There are two types of lyrics used for singing: chorus poems and long and short sentences. There are 79 songs that evolved into the lyrics of the Tang and Five Dynasties.
There are more than 40 songs, which were converted into lyrics after the Song Dynasty.
Jiaofang was dedicated to the palace, but in the middle and late Tang Dynasty, it appeared in social places. The opportunities for dissemination of Jiaofang Qu are greatly increased.
This musical environment and social environment are an indispensable breeding ground for the growth of words.
There are more than 200 Jiaofang tunes that have not been used as lyrics, which shows that the conversion of tunes into lyrics is conditional and selective. The reasons are as follows:
1) There are more lyrics in miscellaneous songs and less in Daqu. This is because the singing of Daqu is complicated and has too many restrictions, making it difficult to become popular.
2) The choice of word tone also reflects the fashion of the times. The tune of Bodhisattvaman's lyrics flourished in the late Tang Dynasty, which is why his music became popular in the late Tang Dynasty. The lyrics are composed according to the music, and the music borrows from the lyrics.
Section 3: From word selection to music to music to word definition - the formation process of word style
The more new songs there are and the more popular the tunes are, the more it is necessary to accompany them More fashionable lyrics. Continuously replacing old lyrics with new lyrics was a popular practice in the middle and late Tang Dynasty. At the same time, poets also enjoy writing lyrics for new voices and adding nouns to famous songs.
But it should be noted that quci and lyrics are not the same concept. A large number of Tang Yan music lyrics are "vocal poems", and "long and short sentences" based on the rhythm of the music are relatively new.
Yuan Zhen's "Preface to the Ancient Inscriptions of Yuefu" discusses the differences between songs and poems. The differences are as follows:
One type is poetry, "Later reviewers of music often adopt other methods." The lyrics are composed of songs. The words are chosen to accompany the music, not the words are determined by music." This is "sound poetry", or "song poetry".
One kind of original preparation of music: "The words are measured based on the sound, the rhythm is sung based on the tune, the number of short and long sentences, and the difference in pronunciation and rhyme are all due to the accuracy." The words are determined by music, not the words are selected to accompany the music." This is the tune word, lyrics, or simply word.
The contradiction between modern poetry and music: There is always a contradiction between neat sentence patterns and uneven music. Although some changes can be made in the rhythm and singing method when music is used, it cannot be completely solved, and the music becomes more and more complicated. The more complex and changeable it is, the more difficult it is to overcome this contradiction. The only way out is to explore a new way of combining poetry and music.
Song people's explanation of the evolution of Quci from Qiyan to Zayan:
Volume 5 of Shen Kuo's "Mengxi Bi Tan": Harmony Theory
Hu Zai Volume 39 of "Tiaoxi Yuyincong Hua": The theory of false voice
Volume 140 of Zhu Xi's "Zhu Ziyu Lei": The theory of pan voice,
The above statements are not appropriate. But in fact they all point out the contradiction between the five-seven-character poem style and the music. Determining the word with joy and following the sound and text is the only way out. Using the beat of a song as a sentence was a major breakthrough.
The first person to propose this method was Liu Yuxi. His two poems "Recalling Jiangnan" are self-note: "He Le Tian Chun's lyrics are based on the beat of "Recalling Jiangnan" as sentences."
The sentences are based on the beat of the music, breaking the neat rhythm of poetry and using words to express sound. Then we entered the stage of writing lyrics according to the music score. This is the beginning of establishing the word style. After the Tang, Five Dynasties and Northern Song Dynasty, this method became increasingly complex and perfected, and finally formed a set of rhythms that were different from those of poetry. From then on, the style of poetry developed independently, which is different from poetry.
Volume 5 of Shen Kuo's "Mengxi Bi Tan" states that the writing of lyrics into music began with Wang Ya: "People in the Tang Dynasty filled in music with words and did not reuse harmony. Although this style begins with Wang Ya, However, between Zhenyuan and Yuanhe, there were many people who did it, and there were also those before Ya."
Authentication of Li Bai's Ci Poems (understanding)
Song Dynasty Huang Sheng (Hua'an)'s "Selected Poems of Sages of the Tang and Song Dynasties" first recorded seven of Li Taibai's poems, starting with "Bodhisattva Man" " and "Recalling Qin'e" are the "ancestors of lyrics and music for a hundred generations", and they predicate Li Bai's Ci uprising.
The name of Bodhisattva Manqu is found in Jiaofangji, or Tianbaojianqu. The poem "Recalling Qin'e" is not found in the records of the Tang and Five Dynasties. The lyrics of Li Zhiyi's "Recalling Qin'e" in the Northern Song Dynasty are self-note "with Taibai rhyme", indicating that it was only passed down to Li Bai in the late Northern Song Dynasty. Moreover, the wording used in this word is different from the words used in the "Recalling Qin'e" in the Five Dynasties and the early Northern Song Dynasty. Ouyang Xiu, Feng Yansi, and Zhang Xian seemed not to know that Li Bai's work had its predecessors. Obviously, the tune "Xiao Sheng Yan" came out later than their Ci, and it was written under the name of Li Bai.
Ci originated in the Tang Dynasty and flourished in the Song Dynasty. Tang Ci is still in the stage of creation and preliminary development, and is still a tributary of Tang poetry. In the environment where Yan music was popular, it was nurtured and grown among the people during the prosperous Tang Dynasty. It gradually matured and took shape through the hands of some famous poets in the middle and late Tang Dynasty. This is the general process of word creation. At the same time, sound poetry has gone from prosperity to decline, with one waxing and waning and the other growing. As for determining which word is the originator of the word style, it is very difficult. However, it would be unrealistic to blindly advance the founding date of the style of writing regardless of the fact that most of the literati's poems are from the middle and late Tang Dynasty.
Chapter 2: Ci Style
Cigraphy inherits poetry from above and develops music from below. The origins of the three are one after another, but the realms are completely different. The characteristics of the word style are partly evolved from the poetry style, but more importantly, they are determined by the nature of poetry and music.
The way lyrics and music depend on each other is to determine the words based on the music, and to determine the style based on the music.
Creation of the first verse - writing lyrics according to the score
Writing lyrics is different from composing poetry. Except for those who write their own music first and then write the lyrics, they generally have to first Compose music according to the rules, and then add lyrics. "The predecessors made the tune according to the rules, and the later generations filled in the lyrics according to the tune." So we call lyrics "filling in lyrics".
There are two types of musical notations used for lyrics: one is musical notation. The score is composed of recorded sounds, and the words are composed of examples. One is the word score, which selects words according to the tone and determines the rhythm and rhythm of the words.
1 Music score
Music score is music score or song score, which records tunes with musical notation. It is a vocal score composed by musicians and craftsmen according to the music rhythm. The earliest existing Tang music score is a volume of Tang music score manuscripts discovered in the Sutra Cave of Mogao Grottoes in Dunhuang in the early 20th century. It was among the more than 6,000 volumes of cultural relics robbed by the French sinologist Pelliot in 1908.
Existing in the French National Library (No. 3808).
There are only 17 complete music scores of Jiang Baishi's "Baishi Taoist Songs". Not only the sounds and words are complete. Moreover, there are Lingqu, slow Ci, and the way of matching vocals and words is also more complicated. It is an important artistic document for the study of poetry and music in the Song Dynasty.
2 Ci Pu
The "Music Pu" of the Tang Dynasty had both music and lyrics. Song lyrics also have lyrics and music scores. There are two reasons why the musical notation is lost if word notation is used instead of musical notation.
1) The meaning of writing words according to musical notation is to follow musical notation. The lyricist must know the music and the music. Liu Qi, Meicheng, and Baishi know their music well and are good at rhythm, so they can succeed on their own. However, most lyricists may not be able to fully understand the music rhythm and find it difficult to fully follow the music score. After the Song Dynasty, the musical notation was lost. The so-called writing of lyrics according to the musical notation can only mean that "predecessors made the tune according to the rhythm, and later generations wrote the words according to the tune."
2) The popularity of music in the Tang and Song Dynasties is mostly time-dependent. Once the musical notation and singing method of a tune are lost, it will become extinct. Some tunes of words were finalized by the phonetic rhythm of words due to someone's writing, so they can be circulated independently.
Liu, Zhou, and Jiang's Ci actually played a role in replacing Ci notation in the Song Dynasty.
Section 2 The Formation of Cixiu—Determining the Style According to the Music
The lyrics are the musical form of a song, and the melody is the lyrics form that conforms to a certain tune.
The difference between Ci Tune and modern poetry:
1. Tune name Ci Tune name is originally the name of the tune. In addition to indicating the music content, the title also indicates the nature of the tune and the category of the theme. The lyrics are named after the tune, not another name.
2. Splitting Most Tang and Song songs have two sides. Tone fragmentation comes from music segmentation.
3. Undefined rhyme
Each piece of music is divided into several short sections, which are called "even". Yijun is a relatively complete musical unit, where the music "pauses" and "stops", and where the lyrics are broken up and rhymed.
4. The sentence pattern is uneven.
One sentence is divided into several sections, which is called beat. A beat is a section of music, called a phrase. The phrasing of words is related to the beat of the music. The beats of the music have priorities, so the lyrics, tunes, sentences, and the number of words are different.
5. The combination of words and sounds is more complex. The rhythm and melody of the tune are expressed with seven notes. The tone of the words is matched with the tone of the words. The characters are composed of four flat tones, yin and yang are clear and turbid.
The above characteristics of the tone of the words are the result of shaping the style according to the music:
1. Divide it into pieces according to the musical section
The pieces are all over. In the Tang and Song Dynasties, one section of music was once. Daqu is often composed of several to dozens of flats, which is called "Daben".
The sub-melody is called "Xiaoben". Extracting one of them once and using it as a tone is called "picking it all over". Therefore, the rapid melody is the rapid melody, and the slow melody is the slow melody. The lyrics and tunes are derived from Daqu and Faqu.
Modern music sections have multiple sections, and most Tang and Song songs are also divided into sections, with one to four sections. Mainly two sections. There are four types of word tones: monotone, double tone, triple tone, and quadruple tone. Mainly dual tone.
1. A piece of music that forms one tune is called monotonous or single pass. Single-pass words often start at the beginning of the word, and some of the tones are later superimposed into double tones.
2. A piece of music composed of two sections into one tune is called double tune. Double tone is the basic form of lyrics and music. The two paragraphs before and after are symmetrical or contrasting with each other. The front part is called the upper part or the front part, and the back part is called the lower part or the back part. The end of the music is said to be "Qiu", one Qiu is one time. The distinction between up, down and front depends on the musical section and has nothing to do with the meaning of the words. The following are some terms used in double-tone lyrics:
Double-tone lyrics: The upper and lower pieces of double-tone lyrics are exactly the same, and they are repeated according to the original song. Among them, the first sentence of the two films is the same, which is the main song.
Big head song: Double-tone lyrics have different front and back parts (mostly slow songs). The front part is short and the back part is long. The front part can be regarded as the head of the back part.
Change the head: If the first sentence of the two-tone word is different, then the first sentence of the second paragraph will change the head.
Gui Si: The first sentence of the second paragraph of a double-tone poem is called Guo Si, which means that the music has changed a section, and it serves as a link between the past and the future.
3. Three sections of music form one tune, which is called triple. There are two types of triple-duplicate words: one is the same as the first two paragraphs, which is called "duotouqu", also known as "double-drawing head" (such as water dragon chant). Another type of triple stack is non-stack head. Liu Yong's "Qi Shi" and Zhou Bangyan's "Lanling King" are of this type.
4. The four sections forming a tune are four stacks. Wu Wenying's "Preface to the Orioles' Cry" has four paragraphs and 240 words, which is the longest lyrical tune.
2. Poems that rhyme according to the word tone, regardless of ancient or modern style, generally have two lines and one rhyme. In addition to the rhyme of every sentence, the rhyme position of words also appears to be sparse or dense, or even sparse and dense alternately. The dense ones have one rhyme per sentence, the sparse ones have one uniform rhyme. This method varies from key to key.
Liu Yong's "Eight Sounds of Ganzhou" is composed of eight short sections of music (eight equals), with eight rhymes. When breaking words, use a period at the end of each paragraph. If there are words at the end of a non-stop sentence that appear to have rhyme, they will not be included in the rhyme position.
There is also a problem of rhyme selection. The modern style of the Tang Dynasty rhymes with flat rhymes, and the words have flat rhyme, oblique rhyme, flat and oblique rhyme, inter-rhyme of three tones, single rhyme of entering tone and rhyme change in the middle. Most lexical tones have specific regulations.
The lyrics are determined according to the music, so the regulation of rhyme is more complicated than that of modern poetry. However, because the rhyme of words can be divided and combined more widely than that of poetry, and the words must match the song, so if we want to be close to spoken language, we cannot stick to the so-called official rhyme. The three tones are Tongye, Ruipai, and even the rhyme can be used in dialects. This is a major improvement compared with poetic rhyme.