Earticle

초록

한국어

In order to find out the musical features of the Ci Yue works of women writers in the Song Dynasty, this paper confirms all the wo rks of women writers in the Song Dynasty that have survived as c i collections and music scores, and interprets the music features of women writers in the Song Dynasty. This manuscript identifies the features of the Song Dynasty femal e writers’ Ci Yue works, identifies all recorded Song Dynasty femal e Ci Yue(詞樂) writers and their works, and analyzes the musical features of Song Dynasty female Ci Yue. All kinds of word sets and music sets of Ci Yue were statisticall y sorted out, and the development process of Ci Yue was sorted ou t. 〈Song of Bai Shi Dao Ren〉by Jiang Kui in Song Dynasty is t he only Song Dynasty ci score that has been preserved, but it does not include female works. In the collection of Poems in the Grass Hall, there are many female works, and many female works were a dded in the Ming and Qing Dynasties. Based on the female ci recor ded in 〈Cao Tang Shi Yu〉 and the study of various ancient music scores, it can be confirmed that there are four kinds of music score s for recording female Ci Yue, which are left over in China and Jap an in the 17th century, 〈Wei’s Music〉, 〈Jiugong Dacheng North-S outh Ci Gong Music〉 and 〈Sui Jin Ci Music〉, 23 female Ci Yue works of the Song Dynasty, 16 writers and 25 scores can be seen. In order to understand the meaning of lyrics and music in the wo rks of female writers, the authors were first divided into upper clas s, common class, and lower class according to their identities, and t he worldview of the lyrics in the works of each class was observe d. Taking advantage of the education and social environment of the ruling class, women of the upper class left a relatively large numbe r of works, as well as many works with themes of love and patriot ism. The works of common women, based on the education they received in their families, generally express the personal emotions of men and women in love and family life. In addition, the lower-class female writers who used to be geisha or maidservants mainly expre ss their resistance to fate and longing for free love in their works d ue to the particularity of their status and occupation. In order to grasp the characteristics of female ci music works, th e composition, rhythm, rhythm and music category are observed. Th e result shows that the female works mainly use the FanZi(凡字)k ey (1=e) and the XiaoGong(小工) key (1=d). The works of the uppe r class women are mainly in seven-tone mode, with the most “Ling” and the second most “Man”. The Meter(節拍) are mainly 2/4 and 4/4. The works of civilian women are mainly in pentatonic mode, a nd the Meter(節拍) are mostly in 2/4 time and Senza Misura(自由節 奏). The number of “Ling” and “Yin or Jin” is more. The works of lower-class women are mainly in pentatonic mode, and the Meter is Senza Misura(自由節奏). There are a large amount of “Ling” and “Y in” in the works. As mentioned above, this manuscript is a translation and musical analysis of ancient music scores from the 17th century, and attempt s to reinterpret the results in the development of Song Ci Yue. The result proves that female Ci Yue in Song Dynasty developed in vari ous forms, and its musical characteristics were developed to the extent that it was clearly distinguished by class. Through this study, we got rid of the previous research on female ci music and proved that it is possible to study music. This paper puts forward the nece ssity of changing the perspective and method of Chinese women’s music research in the future.

목차

Abstract
I. 서론
II. 송나라 사악의 발전 과정
1. 송대(960-1279)
2. 원대(1271-1368)
3. 명대(1368-1644)
4. 청대 (1616-1912)
III. 송나라 여성 사악의 작가계층 및 세계관
1. 여성 사(詞) 작가의 계층
2. 여성 사 작품에 나타난 세계관
3. 이청조의 『사론(詞論)』
IV. 송나라 여성 사악 작품 분석
1. 상류층 여성 작품
2. 평민층 여성 작품
3. 하층민 여성의 작품
V. 결론
참고문헌

저자

• 리원루이 [ LI WENRUI | 우한음악학원 교수 ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  한국국악학회 학술대회

• 간기

  반년간

• 수록기간

  2014~2024

• 십진분류

  KDC 679 DDC 780