《黄钟》编辑部
【中国音乐史】明代曲学文献刻抄述论
2016-06-26  来源:  点击数:

叶天山

摘要:嘉靖以前,明代曲学文献的传播情形不显;嘉靖时以传抄为其主要的传播方式,万历以后则转变为刻、抄并行,且以刊刻方式为主导的格局。这一大致的历史变迁,与曲学研究的成绩与规模、散曲戏曲创作的历史发展情形以及出版业的兴衰均相关联。明代曲学文献在本朝以应用于文艺实践为其主导取向,入清之后则渐次转变为以学术研究为其主要目的。明清以来明代曲学文献的流通地域主要集中在江南一带,这是当时江南尤其是吴越作为曲文化中心的一种具体体现。

关键词:曲学;刻印;传抄

Study on Block-Printed Edition & Transcription of Song Theory Books of the Ming Dynasty

YE Tian-shan

Abstract: There’s no obvious spread notes about Song Theory Books of the Ming Dynasty before Jiajing. Copy was the main spread method in that times, while became publication as its main mode form Wanli. This general historical change was associated with drama research achievements, development of song writing and publishing industry. In the Ming Dynasty, practice of literature & art was the orientation for Song Theory Books. Then object was gradually changed into research in Qing Dynasty. Since Ming Dynasty, including the song culture center of Wu-Yue, Jiangnan was focused on the spread of Song Theory Books of the Ming Dynasty.

Key Words: Song Theory Books, publish, private copies

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