Abstract：Song Ci (a new form of poetry in the Tang and Song Dynasties that was sung with accompaniment), a distinct genre of Chinese literature, acts as a crucial conduit reflecting the social, emotional, and spiritual dimensions of the people of that time. As a prominent attribute of Ci, the names of its tunes carry cultural substance and aesthetic implications. The naming norms, thematic distribution, and aesthetic inclination of the emerging tune encompass an array of societal aspects, effectively mirroring unique aesthetic ideologies and spiritual pursuits embodied by the literati of that era. The refinement and re-imagining of tune names notably underscore the evolution of the Ci from a marginal performing art to a powerful vehicle of emotional expression and personal aspiration.Continuing the phonetic structure of the Tang and Five Dynasties, the new tune names created during both the Northern and Southern Song Dynasties prominently feature a concise, rhythmically varied three-syllable form. Beyond this structure, at various junctures in the evolution of the Ci genre, tune names exhibit distinct phonetic characteristics and innovative naming strategies. Starting from the early Northern Song Dynasty, there was a widespread practice of incorporating musical terms into tune names, thereby increasing the syllable count—a trend that persisted through the middle and late periods of the Northern Song Dynasty and well into the Southern Song Dynasty. In the middle and later periods of the Northern Song Dynasty, as Song Ci became more refined, the creation of longer tune names out of the construction of poetic settings gradually increased. By the time of the Southern Song Dynasty, this practice of creating longer tune names had become the mainstream method of naming.According to the original implications of the tune names, they can be classified broadly into nature-related and human affairs-related. By investigating the distribution of these tunes over distinct historical periods, one can gain profound insights into the societal realities and cultural changes of the Tang and Song Dynasties. The nature-related tune names with their succinct imagery, refined aesthetic ambience and rich semantic extensions evolved as a principal type in the tune naming of Song Ci. They have shown unprecedented prosperity in terms of the breadth of image selection and the richness of combinations, demonstrating the depth and breadth of the Song Ci tunes’ integration into the daily life of the Song people.Tune names associated with human affairs, particularly those evoking romantic relationships and banquet gatherings, consistently maintained a substantial creative presence throughout the Tang and Song periods. For the Song Dynasty’s border regions, the tune names of the Ci were predominantly inherited from the compositions of the Tang Dynasty. However, with shifts in geographical territories and political centers, these regional tune names underwent a transformation from a grand, expansive style to a subtle, nuanced portrayal of local customs and sentiments.Beyond tune names that depict romance, the Song Dynasty saw the creation of a substantial number of Ci tunes named after women’s names, makeup and body postures, clothing, and boudoir objects. These feminine tune names have an exquisite charm and reflect subtle and profound observations and representations of things, serving as a significant representation of the delicate elegance of Song Ci. The creation of tune names of different festivals and occasions of a year during the Song Dynasty is a product of its festive customs, adding an embellishment to the prosperity of the Song era and conveying an atmosphere of peace and tranquility.The inherent aesthetic value of Ci tune names encompasses both the elegance of the mundane and the allure of poetic sceneries, resonating with popular tastes and preferences. The occasions of the use of Ci, the content delivered through emotional expression, and audience preferences contribute to its essential aesthetic traits of populism, colloquialism, lightness, and sensuality. With the literati’s increased engagement with Ci, they took a particular interest in tune names, creating longer tune names that encapsulate more comprehensive poetic meanings and allusion-rich tune names that reflect the literati’s preference for elegance. The refinement and revision of tune names is a practice undertaken by the literati, either deliberately or based on their own aesthetic habits, to enhance the quality of Ci. The creating of new tune names by poets sometimes seeks to align the tune names with the Ci works themselves, returning to the theme for inspiration to serve the purpose of expressing emotions and sentiments. This practice also represents a variant in the process of Ci refinement.Newly emerging tune names in the Song Dynasty, characterized by their concise and condensed form, as well as their common yet poetic language, reflect various aspects of the Song society, the spiritual preferences of the literati and common people, and the development and evolution of the poets’ concepts. They possess significant literary and cultural value.
姚逸超. 宋代新兴词调名的文化内涵与审美意韵[J]. 浙江大学学报(人文社会科学版), 2023, 53(7): 109-124.
Yao Yichao. A Study of the Cultural Connotations and Aesthetic Implications of the Emerging Ci Tune Names of the Song Dynasty. JOURNAL OF ZHEJIANG UNIVERSITY, 2023, 53(7): 109-124.
2023, Vol. 53 
