詩樂合一的限制與排序：以《詩經‧關雎》為例

Constraint Ranking of Language and Music Harmony an Example from Guanju in Shijing

10.6393/JCLT.201212.0017

宋凱琳(Kai-Lin Sung)

詩經 ； 語言與音樂 ； 優選理論 ； Book of Songs ； language and music ； Optimality Theory

華語文教學研究

9卷4期（2012 / 12 / 01）

17 - 39

繁體中文

趙元任（1961），Jackendoff & Lerdahl（1980），Lerdahl & Jackendoff（1983），Gilbers & Schreuder（2002），Schreuder（2006）等多位學者曾提出語言與音樂的共同之處，並深入研究兩者的和諧原則。事實上，「詩樂合一」的概念在中國文學史上，早在先秦第一本詩歌總集《詩經》就已經奠定，並深深影響日後詩、詞、曲的入樂原則。本文以《詩經‧關雎》在《瑟譜》與《魏氏樂譜》的二種入樂版本為例，探討語言結構如何在入樂形式呈現，並根據優選理論，說明所有輸出值，是受到制約排列層級的影響，並對比分析《瑟譜》與《魏氏樂譜》中，語言與音樂互動原則的差異性，研究結果可從音樂的角度重新檢視漢語詩歌的語言特性。

Several scholars like Yuanren Chao (1961), Jackendoff & Lerdahl (1980), Lerdahl & Jackendoff (1983), Gilbers & Schreuder (2002), Schreuder (2006) have indicated the parallels between language and music and probed into the principles leading to harmony in their combination. In fact, the concept of harmony between language and music has been rooted in Chinese literate since the first the earliest anthology of Chinese poems. ”The Book of Songs” in pre-Chin Dynasty, which has deeply influenced the fusion of language and music later on.This paper discusses how language features are presented in music forms, with the illustrations of Guanju (Wade Giles) in the versions of two ancient music scores, Se and the Wei's. Under the framework of Optimality Theory, this paper aims to prove that all musical outputs are generated by the competition among a series of ranked constraints. In addition, the contrast between Se and the Wei's also indicates how music and language can interact differently. These findings may help reexamine the linguistic features of Chinese verses from a musical perspective.

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