[畢業論文]博士論文摘要
[中文摘要]
本論文的聲詩歌辭方面，筆者主要討論隋唐至五代間，可歌唱的敦煌歌辭、唐詩與樂府詩；唐樂古譜方面，採用葉棟所譯譜的《敦煌曲譜》、唐傳《五弦琵琶譜》、唐傳十三弦《仁智要錄》箏譜、唐大曲《仁智要錄》箏曲、《三五要錄》琵琶譜與《博雅笛譜》橫笛譜等（不包含合奏樂譜與鋼琴伴奏譜）為素材，且將樂譜中與其所填配的唐聲詩作為研究對象，進而申說聲詩歌辭與樂譜二者的關係。
[英文摘要 ]
The Tang Dynasty was a golden age in the history of Chinese poetry. In terms of format, ancient-style lujue, five-character, or seven-character poems all achieved a peak status. Tang poems could not only be recited, paired with music, and can be used with wind and string instruments. Thus, the rise of Tang Dynasty music reflected the glory of Tang poetry development.
In this thesis, regarding sound poems and lyrical poems, the author primarily discusses the Dunhuang lyrics, Tang poetry, and Yuefu poetry that could be sung between Sui and Tang dynasties to the Five Dynasties. In terms of ancient poems of Tang music, this study uses the Dunhuang Qupu（《敦煌曲譜》）arranged by Ye Dong（葉棟）, Tang Dynasty Wuxuan Pipapu（《五弦琵琶譜》）, Tang Dynasty thirteen-string Renzhi Yaolu（《仁智要錄》） guzheng sheet music, Tang Daqu Renzhi Yaolu（唐大曲《仁智要錄》） guzheng song, Sanwu Yaolu（《三五要錄》） pipa sheet music, and Boya Dipu（《博雅笛譜》） horizontal flute sheet music (not including choral accompaniment sheet music and piano accompaniment sheet) as the materials, and studies the sheet music as well as the associated Tang sound poems, in turn discussing the relationship between sound poem lyrics and the sheet music.
This thesis is divided into nine chapters. In each chapter, the portions on “Tang sound poems” are categorized as Tang sound poem “Daqu” and “Faqu” for discussion, and “Daqu” and “Faqu” sound poems and sheet music are discussed. Finally, “Tang dance music” not classified into “Daqu” and “Faqu” is discussed, to explain the various issues in the sound poems and the music.
In sum, this thesis compositely organizes the three aspects of “total number of sound poems and musical arrangement discourse conditions,” “the structure and sound poem application of five types of sheet music,” and “the interpretation of sound poem lyrics in musical organization.” The author hopes to infuse new vitality into previous scholarly research into “Tang sound poems,” making an interdisciplinary connection in the practice of “sound poem lyrics” in “Tang sheet music” to Chinese Tang and Five Dynasties classical poetry and traditional sheet music, in order to blaze a new trail.
唐朝是中國詩歌史上的黃金時代，形式方面，無論古體律絕，或是五言、七言都由完備而達全盛之境。而且唐詩不僅可以朗誦，能合樂，還可披管弦，因此唐代音樂的興盛，與唐詩的發達，恰互為輝映。
全文共分為九章，各章「唐聲詩」的部分，以唐聲詩「大曲」與「法曲」之分類為論述對象，又將「大曲」和「法曲」中的聲詩與各樂譜之間，作一討論。最後，再整理不歸屬於「大曲」和「法曲」二類的「唐舞曲」，說明聲詩與樂曲中的各項問題。
總結來說，本論文可從「聲詩總數與譯譜論述的情況」、「五種樂譜的結構與聲詩填配」與「聲詩歌辭在樂曲組織的詮釋」等三方面作綜合整理。筆者盼能在前人為「唐聲詩」所作的研究中，再賦予一新的生命力，也為「聲詩歌辭」在「唐樂譜」的實踐上，將中國唐、五代古典詩歌與傳統音樂樂譜間，作一跨領域的結合，以開啟不同的道路。
總結來說，本論文可從「聲詩總數與譯譜論述的情況」、「五種樂譜的結構與聲詩填配」與「聲詩歌辭在樂曲組織的詮釋」等三方面作綜合整理。筆者盼能在前人為「唐聲詩」所作的研究中，再賦予一新的生命力，也為「聲詩歌辭」在「唐樂譜」的實踐上，將中國唐、五代古典詩歌與傳統音樂樂譜間，作一跨領域的結合，以開啟不同的道路。
關鍵字：大曲、法曲、敦煌曲譜、五弦琵琶譜、仁智要錄、三五要錄、博雅笛譜
This thesis is divided into nine chapters. In each chapter, the portions on “Tang sound poems” are categorized as Tang sound poem “Daqu” and “Faqu” for discussion, and “Daqu” and “Faqu” sound poems and sheet music are discussed. Finally, “Tang dance music” not classified into “Daqu” and “Faqu” is discussed, to explain the various issues in the sound poems and the music.
In sum, this thesis compositely organizes the three aspects of “total number of sound poems and musical arrangement discourse conditions,” “the structure and sound poem application of five types of sheet music,” and “the interpretation of sound poem lyrics in musical organization.” The author hopes to infuse new vitality into previous scholarly research into “Tang sound poems,” making an interdisciplinary connection in the practice of “sound poem lyrics” in “Tang sheet music” to Chinese Tang and Five Dynasties classical poetry and traditional sheet music, in order to blaze a new trail.