論唐代樂府詩之律化與入樂

The Regularization and Musicalization of T’ang Yueh-fu Poems

本文首先指出，樂府詩之律化，是唐代樂府詩最大的特色，而樂府之律化，是整個近體詩成熟過程中的一環，因而不是突然出現，而是從齊梁永明時期以來，逐漸完成。今本《樂府詩集》中許多南朝樂府詩事實上已合乎正體律絕的平仄格式，只是仍有失粘失對，這種情形到初唐仍然存在，只有在盛唐詩賦取士後，格律標準化，詩律才趨嚴。
其次，本文統計了《樂府詩集》中唐人擬古之作，發現唐人古題樂府多變原題之雜言為整齊的五七言近體。至於唐樂府律化原因，學者有認為是為了便於入樂歌唱，本文則認為聲律和樂律並無必然關係。唐樂府多近體，只能說自南朝以來詩體律化的結果，加上近體篇幅短小，歌妓便於記誦，也有利一般人傳唱。
最後，許多學者認為樂府到唐朝已不可歌，可歌者為「聲詩」或「歌詩」，其實這些聲詩或歌詩，很多即是樂府詩，帶有樂府詩題，如〈何滿子〉、〈楊柳枝〉、〈伊州歌〉、〈柘枝詞〉等是，而這些可歌的唐樂府，其歌辭也大都是近體詩，是有唐一代樂府歌辭，其主流為近體律絕。

The Yueh-fu poems in T’ang dynasty developed a new trend of poetry writing through using the so-called recent style to compose the ancient poems. Some scholars consider that the prosperity of Yueh-fu poems in T’ang dynasty is due to its combination with the recent style. This article deals with the issue how the T’ang Yueh-fu poems come into being in recent style, i.e. regularization. In addition, it is also the purpose of this author to plumb the question whether T’ang Yueh-fu poems could be set into music or not.
This article takes Kuo Mao-ch’ien’s Collection of Yueh-fu Poems as sample to delve into the questions in concern. Kuo’s book has been considered the most thorough and comprehensive collection of T’ang Yueh-fu poems. Therefore, it is justified that the present article should have a sound and reliable text to begin with.