The Study Of The Theory Of Tunes In The Singing Theory Of Ming And Qing Dynasties

This dissertation aims to study the general laws,main features and aesthetic principles of the theory of relationship between lyrics and tunes in the works of vocal music in Ming and Qing dynasties.The dissertation writing ideas are arranged as follows:The first,points out that the relationship between lyrics and tunes is the core domain of Chinese traditional singing theory.At the same time,it is believed that the difference and contradiction between the lyrics and tunes in the Nanqu(??)and the Beiqu(??)are the direct cause of the soaring number of theory works of vocal music in the Ming and Qing Dynasties.The second,reveals the significant influence of the phonetic changes from"Ya Yin"(??)to"Dialects"on the theory of the relationship between the lyrics and tunes in the Ming and Qing dynasties,and concludes that the macroscopic consistency of the vocal music theory in the Ming Dynasty,that is,based on the"rules of tonal patterns"and centered on the character voice process,it constructs a theoretical system of the relationship between the lyrics and tunes.The third,discusses the ontological transformation of the vocal music theory in the Qing Dynasty and its basis,and considers that the"oral morphology in singing"is the basic logic of the theory of the relationship between lyrics and tunes in the Qing Dynasty.At last,refines the aesthetic principles of the theory of the relationship between lyrics and tunes in the singing theory of the Ming and Qing Dynasties.On the whole,the theory of the relationship between lyrics and tunes in the Ming and Qing dynasties extended the theoretical principle and practical mechanism of"stretching the voice process of a character"in poetry,enriched and developed the connotation of"Tonal Patterns",absorbed and refined the voice technology and theoretical principles such as"Fanqie"(??)and"Denghu"(??),constructed a theoretical system of the relationship between lyrics and tunes based on"rules of tonal patterns"and"oral morphology in singing"respectively,gradually formed an aesthetic pattern from"popular to elegant"to"elegant and popular",highlighted the main role of"human",carried out the methodological support of the ancient"vocal supremacy"concept,and realized the ultimate expression of"vocal supremacy".