尊體與復古 : "詞樂恢復"視域下的清初自度曲現象

清初自度曲的興盛，既是針對明人自度曲的俗陋率意所做出的修正，同時也是清人重視音聲之學，主張以“詞樂復古”爲尊體的路徑展現。本文以清初詞樂恢復的風氣爲背景基礎，觀察清初自度曲現象的形成背景、發展概況與創作特徵。清初文人批評明人混淆詞曲，多爲妄作，嘗試通過自度曲重新建立詞與音樂的連結。由“上附風騷”爲論，清人之尊體除將詞體的起源追溯自詩騷外，自度曲的製作、製曲樂器，乃至於對姜、張自度曲的讚賞，皆是“繼聲音之秘響”的自我作古表現。接著以雲間詞人與西陵詞人兩個文人群體爲例，其間交遊唱和的自度曲作品，除凝結文人群體認同外，亦直接有助於自度曲的流傳，達到了“用廣新聲”的作用。要之，清初文人所謂詞樂恢復，是將詞體重新納入合樂而歌，合律而作的音樂文學傳統。惟在康熙晚期譜律之學確立與其後浙西詞學的盛行影响之下，自度曲的創作亦隨之衰微。 The flourishing of self-composed tunes in the early Qing dynasty was both a correction to the perceived vulgarity and capriciousness of Ming-dynasty compositions and a demonstration of the Qing scholars' emphasis on the study of sound, advocating for a "revival of lyrics and music" (ci yue fugu 詞樂復古) as a revered practice. This paper builds on this observation and explores the context of early Qing self-composed tunes' emergence, developmental overview, and creative characteristics from the perspective of the " revival of lyrics and music." Early Qing literati critiqued the Ming predecessors ' confusion of lyrics and music, largely deemed as arbitrary creations, and attempted to re-establish the connection between lyrics and music through self-composed tunes. From the perspective of "aligning with the elegance of Shijing and Chuci" (shangfu Feng Sao 上附風騷), the Qing's reverence extended not only to tracing the origins of lyric forms back to the classics but also included the production of self-composed tunes, the crafting of musical instruments, and the praise of tunes by figures such as Jiang and Zhang, all of which exemplify the act of "continuing the subtle resonance of sound" (ji shengyin zhi mixiang 繼聲音之秘響) in their archaizing endeavors. By examining Yunjian lyricists and Xiling lyricists as case studies, this paper studies their interactive compositions of self-composed tunes, which not only solidified the group identity among literati but also directly facilitated the transmission of these tunes, achieving the effect of "broadening new sounds" (yongguang xinsheng 用廣新聲). In essence, the early Qing literati's revival of lyrics and music was an effort to reintegrate lyric forms into a musical and literary tradition that combined music with singing and composition with the rules of harmony. However, with the establishment of musical notation during the late Kangxi era and the subsequent prevalence of Western Zhejiang lyrics studies, the creation of self-composed tunes gradually declined.