闻一多的诗歌之旅,始于旧诗,更为新诗,归于新诗格律化.其《诗的格律》旨在匡正时弊,救治新诗,于新诗格律化有倡导之功,惟其言说属急就章,缺少学理的缜密.其后,中国新诗格律化继续探索前行,却是道阻且长,至今尚未走出困境.在中国新诗格局中,自由诗与格律诗各有所长,将会长期共存.人们期待中的现代格律诗的几种主导体裁应该是:古典加民歌式的三顿体,突破古典和民歌的四顿体,以及歌词体.

吴颂今先生大著《歌词写作十八讲》(人民音乐出版社201 2年4月版)交付出版之前,命我作一序言.于是,我作为此书的第一个读者,认真地拜读了全稿.我发现,此书在歌词的审美特征和创作技巧的多个方面的论述,都不乏创见和个性.譬如,关于中国歌词的押韵规律,就独出心裁地提出,其中有一个“起承转合”. 书中说,首句起韵,就是歌词的第一句先要选定一个韵脚,接下去,后面每逢双句押相同的韵,即二四六八句的尾字押韵.第一句就入韵,即押“起韵”,定下一个基调,以提示后面的诗句所采用的韵辙,满足中国听众特定的心理期待.书中接着写道,如果是四句歌词,通常是一、二、四句必须押韵,第三句不押.为什么这样呢?

胡适的白话诗理论鼓吹,主要见于《文学改良刍议》《谈新诗》及《尝试集》的三篇自序.《文学改良刍议》所论“须言之有物”等八事全部与诗有关.《谈新诗》的论点有四:诗体必须大解放,诗的进化即诗体解放,新诗语言须有“音节”,新诗语言须“具体”.《尝试集》自序的主要论点是:作诗如作文,文学革命毋庸置疑,打破一切枷锁镣铐,新诗的音节须顺应诗意,旧诗如缠脚新诗是天足.这些理论鼓吹,在当时无不切中时弊,待时过境迁,则无一不可质疑.

起承转合,关于诗文的意蕴结构或曰章法的这一术语,也可以用来概括诗歌的押韵规律.在诗歌的各种韵式中,起承转合这一韵式有着独特的优势,至今葆有顽强的生命力.

音乐是一个时代精神风貌的反映,是社会变迁与流行思潮的一种情绪表达。清末民初的革命之歌与保皇之歌,反映着那个时代的思想暗涌。革命歌曲以其特殊的艺术形式与传播效果,一度担起了唤醒民众、鼓舞士气、号召革命的历史责任,而不合时宜的保皇歌曲却更加激起了人们对腐朽政权的唾弃。

多一种语言存在,就等于人间多了一堵隔离墙。汉语内部,方言已没有继续存在的必要。北方话作为胜出的一方应该谦卑,南方话也不必过于自恋。方言的割据还是民族分裂的隐患。不妨像当年推行"书同文"、"车同轨"一样,理直气壮地推行"语同音"。实行普通话与方言的双语政策,其弊远大于利,完全不可行。

All kinds of art are interlinked and confluent.Apart from "painting in poetry and poetry in painting",there are "music in poetry and poetry in music","dancing in poetry and poetry in dancing","architecture in poetry and poetry in architecture","painting in music and music in painting","dancing in music and music in dancing",and "architecture in music and music in architecture" and so on.Interaction and coordination in all kinds of arts mainly occur between the imaginative art and the audio-visual art,and between hearing art and visual art.And calligraphy is peculiar for it interacts and penetrates with other kinds of art.

作为学堂乐歌一个颇具时代特色的主题,"军国民教育"在清末民初为一些爱国志士所鼓吹,军国民教育之歌应运而生。总的来看,军国民教育之歌经历了从学堂乐歌到军歌、从报国鼓吹到革命动员、从边塞诗韵到丛林歌声的转变。

The name of "new poetry" doesn't mark any stylistic characteristics,it's only a temporary name.Other names such as "vernacular poetry","free poetry" are difficult to summarize all of its characteristics."Style poetry" and "colloquial poetry" is not as well as "vernacular poetry"."Western poetry" or "Hu poetry" is also inevitably biased.Through investigating its all kinds of names and weighting the advantages and disadvantages,"new poetry" should be called "vernacular poetry".

<正>吴颂今先生是当今中国歌坛大家。他的成就兼及作词、谱曲、唱片策划、录音制作、音乐教授、歌星培养包装等诸多领域。在南国广州,他自立门派,卓然成家,令人仰慕。仅就歌词创作而言,他历年的词作总量就在千首以上,精品迭出。最近出版的《百年中国歌词博览》(乔羽任艺术顾问,金波、

<正>在当代词坛,提起曾宪瑞先生的大名,可以说是无人不知无人不晓。曾先生从18岁开始写诗,留下一本诗集《蓓蕾集》,35岁转入歌词创作,先后出版了七部歌词集《心中的歌》、《南方三月天》、《旅情》、《爱的风景线》、《相约未来》、《桂林之恋》和《今夜心曲》,以及三部由他作词的歌曲集《祖国恋》、《美丽的白莲》和《山水情》。时乐蒙、施光南、谷建芬、徐沛

There were different opinions about who had been the lyric author of Chinese Man,one of School Songs.This paper through textual research on its lyric author signature,and concluded that the lyric author of this School Song should be Shi Geng(Xin Han),not Yang Du.

The role of imagery in poetry can be roughly divided as follows: to shift Abstract subjective emotions to specific objective things to make them tangible and vividly expressed;to make the same or similar emotions to be uniquely and artistically expressed;to produce the effect of "endless meanings in limited words" that can not be achieved by Abstract language;to denounce the current problems by analogy;to keep a certain distance with the reality and leave some room for poetry.

Multi-media poetry is defined as the poetry of enhancing the artistic expressive force through multimedia.Its expression mainly relies on poetic words or recitation,supplemented with the multi-media of vision and auditory.Multi-media poetry existed in ancient time.The emergence of computers and the internet has provided a new way of existence and transmission.With the help of multi-media,the way of poetics transmission and receiving will be improved greatly;and the charm and influence of poetry will be freely appreciated at the same time.

After the Kamakura General＇s office was founded,martial arts were rewarded and the Chinese prose continued to decline.Some writers retired in the wooded mountain or take refuge in religious life,so the Chinese prose was changed over to the Zen temple and the Daoist temple by the palace,forming the so-called Five Mountain Literature.Influenced by the Buddhist temple literature during the end of the Chinese Yuan Dynasty and the beginning of Ming Dynasty,schools of Ancient Woods and Great Wisdom appeared in Japanese Five Mountain Literature.After the ＂Yingren Turmoil＂,Five Mountain Literature faded at its peak,and within the following Warring States Periods,independent warlords rose together simultaneously,among whom some military commanders were also scholarly and refined,leaving behind many brand-new poems.

<正>从来雪与诗有缘,与诗家的灵感灵气有缘。踏雪寻梅,踏雪寻诗,历来是文人雅事。唐人郑綮,时负诗名,官至丞相,人问:"相国近有新诗否?"他回答道:"诗思在灞桥风雪中驴子上,此处何

Han poems in Japan are one of the major branches descended from the overseas ancient Chinese poetry.Originally born in the period of Tianzhi Emperor,Han poems in Japan of the later 1000-odd years were divided into four stages of the Dynasty,Five Mountains,the Warring States,and Jianghu.The remaining 500-odd years from Tianzhi Emperor to the entire times of Nailiang and Ping'an were called the Dynasty Period of Han poems in Japan.Huaifengzao is the earliest existent collection of Han poems in Japan,most of which were copied.In the early period of Ping'an,three collections of Han poems consecutively appeared,namely Above-clouds Collection,Splendid Collection,Country-Running Collection.

<正>由于古典音乐的通俗化和民间音乐的精雅化,现代流行歌曲兴起于19世纪中叶的欧美。明治维新后传到日本。20世纪初传入中国,风行于新式学堂,称为"学堂乐歌"。由于鸦片战争以来帝国主义列强的入侵和瓜分,加上满清当局腐败无能且冥顽不化的统治,中华民族的生存危机空前严重,爱国救国成为时代的主旋律,爱国救国之歌亦成为学堂乐歌最动人的篇章。