1. Names in music. Such as Bodhisattva Man, Xijiang Moon, Wind in the Pine, Recent Flowers, etc. Some of these came from the people and some from the imperial court. When the words first appeared, most of the tunes came from the people. There were quite a lot of folk music systems in the Tang and Song Dynasties, and some tunes were loved by literati, so they were used to write new words and later spread widely. For example, Zhi Zhu and Yang Liuzhi in the Tang Dynasty were originally folk songs in the middle and upper reaches of the Yangtze River, and later poets such as Bai Juyi and Liu Yuxi drew nutrition from them and wrote many new words accordingly.
Choose a few words between the lines as epigrams. For example, Qin Yi E, because the first two sentences of the earliest words written according to this format are "Xiao Shengyan, dream broken", so the epigraph is called E, also called E. Memory of Jiangnan was originally named Looking at Jiangnan, but Bai Juyi's last sentence was "Can you forget Jiangnan", so it was also called Memory of Jiangnan. Niannujiao is also called no return to the river, because the first sentence of a poem by Su Shi called Niannujiao is "no return to the river" and it is also called "Yongjiangyue", because Su Shi's last three words are "Yongjiangyue".
This title comes from the original word. Some epigrams are the theme of words. "Waves for Sand" is about big waves for sand, and "More Leakage" is about night scenes. Throwing the ball is about throwing the ball, and stepping on the lyrics is about dancing and so on. This is the most common. Where the epigraph is marked with "original intention", that is to say, the epigraph is also a topic, and there are no other topics. But most words don't use the original meaning, so there are prefixes besides epigrams. Generally, inscriptions are marked under or behind the inscriptions. In this case, the inscription has nothing to do with the inscription. A song "Waves on the Sand" doesn't mention waves and sand at all; A poem "Recalling Jiangnan" can also not mention Jiangnan at all. The epigraph here is only the code name of the word spectrum.
4. From Yuefu. During the reign of Emperor Wu of the Han Dynasty, Li Yannian, who was good at music, was appointed as the "captain of Xielv", and making music was stipulated as one of the tasks of Yuefu. Since then, similar music institutions have been set up in the Tang and Song Dynasties, specializing in sorting out ancient music and creating new songs. Many of these new songs later became epigrams. For example, Bing Di Furong, Huang Heqing, Shou Xingming and Shun Shao Xin all came from this.
5. From outland or frontier. During the Han and Tang Dynasties, music from the western regions and frontier regions was introduced to the mainland, and some tunes in these places were popular all over the country, and some were adopted as ci. The most famous ones are from other places, such as Bodhisattva Man, which has been verified by some scholars in Tang Dynasty and even Ming Dynasty. Although there are different opinions, it is certain that this epigraph comes from the western regions. Another example is Cai Yu, the most famous in the Tang Dynasty, which was also adapted from the Indian Brahman introduced from the northwest. The tunes come from frontier areas, such as Liangzhou, Songtou in Liuzhou and Klang Ganzhou. Liangzhou and Ganzhou are the names of border states in Tang Dynasty. The tunes of these areas were introduced to the mainland and later used as the names of epigrams.
6. Poets are self-conscious or self-controlled. During the Tang and Song Dynasties, many poets were familiar with melody and music theory and were able to create their own tunes. For example, Liu Yong, Zhou Bangyan, Jiang Kui and others in Song Dynasty were both poets and musicians, and their ci collections contained many new tunes created by themselves. A poem (epigraph) created by a poet is called "self-tuning" or "self-tuning". In this case, poets often add the words "self-tuning" or a small preface to the epigraph. For example, seventeen tunes in the fourth volume of Jiang Kui's Ci Collection "Songs of the White Stone Taoist", such as Yangzhou Slow, Changting Bitter Slow, Pale Yellow Willow and Shihuxian, are all self-annotated as "self-composed songs" and are all marked with Gongdiao respectively. Next to them is the only complete score of the Song Dynasty.
Yuan Qu consists of two categories: Qu, Sanqu and Opera. Sanqu is divided into divertimento and poem.
Yuanqu is different from Song Ci, and many Yuanqu can supplement words and even sentences as needed. Therefore, when there is no score, you will find that the number of words is uneven and the sentences are different. But some interlayers are extremely obvious, such as Wang Shifu's "Yao Folk Songs in December [Middle]":
Since walking, the distant mountains are faint and the water is more sparkling. Yang Jian cotton roll, peach blossom drunk. The fragrance of the cabinet is bursting, and the heavy door is covered by rain. I'm afraid of the sudden dusk and dusk, why not be ecstatic? New tears overwhelm old ones, and heartbroken people remember heartbroken people. This spring, Xiang muscle lost a little weight and the bandwidth was three inches.
There are six lines in the poem "December" in front of here, usually four lines according to the score. Besides, Master Wang adds three interludes to every four-sentence sentence, which is much more vivid to read than the simple four-sentence sentence, not to mention when singing? Zhou Deqing's "Central Plains Rhyme" commented on this song as "duality, melody, flatness and wonderful sentences." The following seven Yao folk songs are collectively called "Caige". Of course, there are strict rules about what can be taken, what can't be taken and who can take it.
The following are two music scores I used last time (the other "Little Pink" has no music score, and is based on the "gourd" painted by predecessors. ) Spring suddenly releases dried lotus leaves:
Spring is small and small. Also known as [Happy Spring Breeze], [Yang Chunqu] and [Happy Spring]. Also entered the [main palace].
◎ Ping ◎ Ping, Ping, Ping.
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Go flat (flat) and even.
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Yuan Haowen's Spring Banquet is considered to be the proper form of this poem, and the lyrics are as follows:
The lingering fragrance of Meiyu is still there, and the willow eyes are still open. The east wind filled the tower. When peaches and apricots are folded, it is appropriate to sing "Spring is bursting".
According to the law, the beginning of this poem should rhyme, but when I filled in this poem, I couldn't find the word that must rhyme in the fourth sentence. In order not to destroy the whole poem, I used the word "drum". The modern sound of the word "drum" is similar to the rhyme at the beginning, but strictly speaking, it has been figured out-not in this rhyme. I'm here to make it clear that I won't be a "bad teacher".
Dried lotus leaves are used for small orders. Also known as Cui Panqiu. Also enter [Zhong Lu] and [Double Tone]. This key [Southern Melody] is only used in minor, while [Lv Zhong] and [Double Melody] are only used in combination.
◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎967
▲ △ △
Just plain, just plain, ◎ plain ◎ just plain, ◎ plain.
△ △ △ △
This is a folk song. In the Yuan Dynasty, Song Ci gradually faded, and performers had no songs to sing, so they sought a breakthrough from folk ditty. So the lyricist wrote lyrics for it, and the songwriter carefully processed them, which became a wonderful work in the history of ancient culture and art in China. The breakthrough of folk minor in this direction can also be said to be a fundamental process of "Yuanqu" becoming "Yuanqu". Therefore, it is really reasonable for predecessors to say that "it comes from life and is higher than life".
Take a poem "Dry Lotus Leaf" by Liu as an example;
The dried lotus leaves are pale in color and the old stalks are swaying. The less fragrant, the yellower. It's all because of a rain last night that I was swinging alone.
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