Poetry and music

Modern lyric poet Hu proposed the concept of "music literature". He said that the development and changes of China literature are closely related to music, rather than the independent relationship formed by literature itself. ..... China literature activities, the kind of cultural and sports activities that take music as a refuge, can only be active in the era of that kind of music attached to it, and will flourish and reach the most active state in that era. If music dies, then literature that moves with music naturally stops moving. Any literature combined with music is music literature and valuable literature.

Mr. Hu's literature is literature in a broad sense, but it is also very appropriate to apply his expression to the relationship between poetry and music. Mr. Zhu mentioned that "the so-called poetry is music" in the book History of Music Literature in China. In a word, he summed up the relationship between China's poetry and music. To talk about the relationship between China's poems and music, we must first define what are "China's poems" and "music". China's poems mainly emphasize China's archaic poems, which are generally called archaic poems, referring to poems written in classical Chinese and traditional meter, while China's archaic poems in a broad sense generally refer to China's archaic rhymes, such as ci, fu and qu. However, what we mean by music is that any kind of artistic, pleasant, prudent or other topological sound can usually be interpreted as a series of organizations with temporality to sound and silence, and contains rhythms, melodies and harmonies of different scales. In the preface to poetry, it is pointed out that "poets also have aspirations." Have ambition in your heart and speak like a poem. Emotion moves in the middle and forms in words. If words are not enough to express, we sigh and drink them. If we don't drink enough, we will sing forever. If we don't sing well enough, we don't know how to dance with our hands. We also say that "emotion comes from sound, and sound is written in words." . The vocal music that governs the world, its politics; The voice of troubled times is angry, and its politics is good; The voice of national subjugation is sad, but its people are trapped. Therefore, the essence of poetry is closely related to music, which is not only the catharsis of thoughts and feelings, but also the catharsis of emotions.

China's ancient poetry originated from folk songs, and labor created poetry. The Book of Songs is China's first collection of poems. The Book of Songs consists of 305 articles, which are divided into three parts: style, elegance and ode. Wind has fifteen national styles and is a folk song of all countries in the world. This part of literature has the highest achievements, including praising beautiful things such as love and labor, complaining and angry about homesickness, thinking about people and opposing oppression and bullying. Ya is divided into Ya and Xiaoya, and most of them are poems sacrificed by nobles. Xiaoya also has some folk songs. Ode is a poem dedicated to the ancestral temple. "Wind" is the general term for music. 15 Group National Style is music from more than ten regions, including music songs of, Iraq, Wei, Wang, Zheng, Qi, Wei, Tang, Qin, Sui, Chen and Cao. Gagaku refers to gagaku that everyone can understand, 105, including 3 gagaku1and 74 Xiaoya. Ode is a musical work in which nobles worship ghosts and gods in temples and praise the merits of rulers. You should play with the dance.

From the content of The Book of Songs, we can see that it is the epitome and enlightenment of ancient Chinese music, and from its name, we can know that The Book of Songs is the enlightenment of ancient Chinese poetry. Therefore, China's poetry is born out of music.

Poetry in a broad sense reached a peak in the Han Dynasty, famous for the establishment of the official institution Yuefu. According to the Records of Rites and Music in the History of Han Dynasty, during the reign of Emperor Wu of Han Dynasty, the court set up an institution to collect local ballads, arrange and formulate music scores, which was called Yuefu. Later, people called the poems collected and created by this institution Yuefu Poetry, or simply Yuefu Poetry. Yuefu poetry is sung with music, which is equivalent to the current lyrics. This kind of Yuefu poetry is called Qu, Ci, Song and Xing. The highest achievement of poetry representing the Han Dynasty is Yuefu poetry, and the most basic artistic feature of Yuefu is narrative. The masterpiece Peacock Flying Southeast is also the earliest and longest narrative poem in ancient times and the highest peak of Yuefu folk songs.

In the Tang Dynasty, quatrains and metrical poems appeared in China's poems. Rhyme and rhyme are balanced, and the balance and antithesis of each sentence are regular. The quatrains are a little looser. Poetry is the art of language, while Chinese characters are monosyllabic, and each sound includes three parts: sound, rhyme and tone. In this way, paying attention to rhyme and meter has become an important feature of China's poetry. Tang poetry pays great attention to rhyme and meter. Therefore, Tang poetry has musical beauty and is catchy to read. When reading Meng Haoran's "Spring Dawn": "On this spring morning, I woke up easily, surrounded by birds singing. But now I remember that night, that storm, and I want to know how many flowers were broken. " Read Du Fu's Qiang Village: "The sky is red and the clouds are west, and the ground is flat at the foot of the sun. Birds sing in Chai Men, returning thousands of miles. " At that time, the fluency was really flowing, and the feeling at the sound was also felt. It is not only catchy, but also charming, making people feel the beauty of music.

In the History of Music Literature in China, Mr. Zhu mentioned that "quatrains in the Tang Dynasty were all used for singing". This can also be seen from the form of quatrains. The quatrains all rhyme. The so-called complete rhyme means that quatrains rhyme from the beginning to the end of the last sentence. It is required to be complete and thorough, as long as its rhyme is consistent, no matter whether it is flat or flat, it can be passed. For example:

Watching the sea at night, the wind is alone. Ruthless and helpless, I came back. ("Looking at the Sea in Chiwan")

Flowers and wine are fragrant, stepping on sand waves. Where is the lover? I don't think the world is wide. (Drinking among Flowers in Xili Lake on Autumn Night)

There are only four quatrains. There is a difference between the rhyming and non-rhyming first sentence in the five-seven-character quatrains; The five-character case is the first sentence that doesn't rhyme, and the seven-character case is the first sentence that rhymes. The quatrains all rhyme, that is, whether the quatrains are formal or not, they all rhyme, and the third sentence rhymes, that is, all four sentences rhyme, even and even, and rhyme to the end.

The previous example "Looking at the Sea in Chiwan" was originally a blank five-line poem, but now every sentence uses rhyme, while the word "sea" used in the first rhyme rhymes with the word "nai" used in the third rhyme, and the words "kai" and "lai" used in the second and fourth sentences are flat, with the same four rhymes, but even.

"The quatrains completely rhyme", hoping to produce a new thinking and guide a new direction in enhancing the musicality of poetry. The quatrains rhyme completely, with great momentum, making them more musical, catchy and beautiful, strengthening the flow of rhymes, making the rhymes of quatrains more compact and coherent, and more suitable for singing requirements.

In the study of Tang poetry, I found two special situations. First of all, there is an example of a poem written specifically for singing. Historically, Yang Guifei wanted to listen to a new song. The emperor of the Tang Dynasty deliberately dragged Li Bai drunk out of the pub and asked his minion to carry his shoes for him. The Prime Minister touched up his pen and ink, and only wrote "songs" for "poems". After the poem was written, the waiting court musicians immediately composed music according to law. The following is Li Bai's Palace Poetry. Although it is called by the proposition, it is elegant and ethereal, graceful and graceful, fluent and lang lang. They must be more attractive when they are composed into songs.

Three qingpingdiao songs

Lipper

One of qingpingdiao trilogy

Beautiful people who see the bright clouds, think of their clothes and see flowers come to see them.

If Yushan didn't see her, it would be Yaochi meeting under the moon.

The second part of qingpingdiao trilogy

A red dew is fragrant, and the rain is heartbroken.

Excuse me, who looks like Han Palace? The poor swallow relies on new cosmetics.

The third of qingpingdiao trilogy

The beauty of beauty and red peony complement each other, and beauty and long flowers are king.

Explain that the spring breeze is infinitely hateful, and the agarwood pavilion is northward.

The first song is about the appearance of a noble princess like a flower. The second song describes the legendary witch mountain goddess she met, not necessarily like a real beauty, and only Zhao in the Han Palace can compare with her. The third song points out that concubines and famous flowers are often favored by kings, and all troubles can be eliminated at first sight. At that time, both Xuanzong and Guifei admired the poet's talent.

Another special phenomenon is the special description of music in poetry. Here are two typical examples, Bai Juyi's Pipa Travel and Li He's Li Ping Quotations, both of which are excellent poems describing music. Taking Li He's poems as an example,

Wu Si, Shu and Zhang Tong are in high autumn, and the empty mountains are not flowing.

Hunan and Hubei are in tears, and Li plays China.

Kunshan jade broken Fengming, hibiscus crying, Xianglan laughing.

The cold light melts in front of the twelve gates, and the twenty-three silk moves the purple emperor.

Nu Wa makes up the sky by refining stones, and the stones break the ground to stir up the autumn rain.

Dream into the holy mountain to teach the gods, and the old fish dance with the waves.

Wu Mian leans against the laurel tree, showing his feet and flying obliquely to wet cold rabbits.

With the help of strange imagination, the poet transformed abstract music into concrete objects and praised Li Ping's superb playing skills. The conception of this poem is also very clever. The first sentence is written on the piano, the second sentence and the third sentence are written on the tone, starting with the tone and then reaching the performer. When writing a performance, write the scene first to pave the way for writing the melody below; Write the melody, and write the sadness, joy and sorrow it contains. The poet fully mobilized all kinds of senses, wrote beautiful sound quality and strong artistic appeal, and was full of praise and exclamation for Li Ping's skills. The whole poem is full of romanticism, and it is a swan song describing music.

Poetry developed into the prosperous Tang Dynasty and the Song Dynasty, and the main creative forms also developed from poetry to ci, or songs and songs, also called long and short sentences, which rose in the early eighth century, that is, the prosperous Tang Dynasty in China, and flourished in the Song Dynasty. Ci is a kind of music literature, and its emergence, development, creation and dissemination are directly related to music. The so-called Yanyue, also known as Banquet Moon, is a new type of music mainly composed of western songs and folk alley songs since the Northern Zhou Dynasty, which is mainly used for entertainment and banquet performances. Wang Zhuo, a poet in the Song Dynasty, once said, "Since Gai's birthday, composers have become more and more popular and flourished in the Tang Dynasty."

The first consideration is the lyricism of the Song people. Li Qingzhao's "On Ci" mentioned that "Ci can't be the same" and put forward strict requirements for the rhythm of Ci, the first of which was "Kege". Wang Yan once said "sing long and short sentences, not recite them". The singing characteristics of Song Ci can be clearly seen in "Dimfragrance" by Jiang Kui in the Southern Song Dynasty.

Old moonlight. Look at me a few times. Bian Mei can play the flute. Arouse jade people and climb regardless of the cold.

He Xun is old now and has forgotten. But strangely, the flowers are sparse outside the bamboo, and the incense is cold into the Yao mat.

Jiangguo. It is silence. Sighed away, the snow began to accumulate at night. Cui Zun cries easily. Red calyx is silent and nostalgic.

Chang Ji once joined hands to crush thousands of trees, making the West Lake cold and blue. Piece by piece, blow it out, when can I see it?

This poem expresses Yongmei's memory of lost feelings, which is a combination of chanting things and remembering old friends. The meaning is profound, the dictionary is elegant, and it is in harmony with elegant tunes, bringing out the best in each other.

Although the score of Song Ci is lost, the music of the Ci itself is still very strong. This sense of music comes from the flat combination of words and sounds, as well as the melody and rhythm brought by the wrong way of sentence patterns. For example, in Li Qingzhao's slow whisper, the use of reduplicated words not only emphasizes the miserable and lonely mood, but also gives the whole word a sense of music.

In the process of paying attention to Song Ci, one person always lingers in his mind, that is, Liu Yong and Liu Sanbian, who self-mocked himself as "deliberately writing Ci". Liu Yong is a special case. Many of his lyrics are directly for singing. To put it bluntly, many of his works are directly provided to geisha. After his career was frustrated, he often went in and out of the streets, lingering in Qin Lou Chu Guan, dance Guan and karaoke bars, and associating with musicians and prostitutes. Very familiar with the pop music at that time, coupled with his illegal skills, the words were in his hands and started a new trend. Liu Yong used folk tunes and wrote many long and slow words, which were suitable for singing. Liu Yong's writing is plain and simple, and he doesn't avoid slang. Some parts are also colloquial. Therefore, they are widely circulated among the people. Ye Mengde has the following record: Where there is well water to drink, you can sing Liu Ci. It can be seen that Liu Yong's ci has great influence.

Since the Yuan Dynasty, the golden age of China's poetry has gradually passed, and his literary creation has gradually turned to drama and other forms. Qu, also known as Yuefu. Yuanqu includes Sanqu and Zaju. Sanqu rose in the Jin Dynasty and flourished in the Yuan Dynasty, and its style was similar to that of Ci. The feature is that you can add lines to the number of words and use spoken English more. Zaju is a kind of drama in Yuan Dynasty. Sanqu can be independent, and at the same time it is the main part of Yuan Zaju.

In a sense, Qu is the body body double of Ci, which evolved from Ci in terms of musical basis and musical structure. Ci originated from the people and spread among singers and musicians, so it is suitable for singing. As a word, the music of body double has become rich in tunes with the development of time, and gradually formed a genre different from the word, becoming a new literature that is easy to sing after the word.

Poetry in a broad sense includes poems, words and songs. These creative forms have their own characteristics in content, form and genre. However, in the process of communication and absorption with music, the compatibility shown is beyond the reach of other literature. The word "poetry" itself contains "music", and we can also know that poetry and music are closely related. They promote each other, complement each other and blend with each other. Because China's poetry and music are closely combined, the so-called mixed art is formed, which is a wonder in the history of world literature and even the history of world music.