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Full Description
This book provides a survey of Yuan sanqu, with its principal sections focusing on fundamental theories, compositional features, and historical evolution. Its treatment of qu criticism and bibliography offers a comprehensive perspective on the defining characteristics of sanqu. Serving both as a general overview of sanqu and a foundation for future research, this publication explores this unique yet historically marginalized genre of song-poetry. It generates new insights through textual analysis and the nuanced discussion of dualistic concepts, such as the interplay between literature and music, the Song and Yuan dynasties, and the relationship between ci-lyrics and song-poetry.
Contents
Sanqu Studies in Cross-Cultural Perspectives: a Foreword
Translator's Acknowledgement
Introduction
1 The Formation of Northern Qu-Genre
1.1 The Notion of Formation of Northern Qu during Late Imperial China
1.2 The Formation of Song-Music of Northern Qu
1.3 The Formation of Literary Style of Northern Qu
1.4 The Critical Turn of Ci-Lyrics to Qu and Customisation of Northern Qu System
2 The Tune Patterns and Musical Modes of Northern Qu
2.1 The Musical Modes
2.2 The Tune Patterns
3 The Generic Forms of Yuan Song-Poetry (Sanqu)
3.1 The Historical Evolution of the Title Names of Yuan Sanqu
3.2 The Single-Stanza Songs (Xiaoling)
3.3 The Binary Form Songs (Daiguoqu)
3.4 The Song Suite Songs (Taoshu)
3.5 The Song Suites in Northern and Southern Joint Style
4 The Stylistic Features of Yuan Sanqu
4.1 The "Padding Words" of Yuan Sanqu
4.2 The Language of Yuan Sanqu
4.3 The Rhymes of Yuan Sanqu
4.4 The Antithesis and Reiteration of Yuan Sanqu
4.5 "Bravo" (Wutou)
5 Yuan Sanqu and Yuan Zaju
5.1 The Chronological Sequence of Sanqu and Juqu
5.2 The Influence of Sanqu on Northern Zaju
5.3 The Influence of Zaju on Sanqu
6 The Details on Yuan Sanqu Writers and Their Communal Features
6.1 The Officials
6.2 The Non-officialdom Talented Scholars
6.3 The Non-Han Ethnic-Minority Writers
6.4 The Singsong Girls
7 The Evolving Stage of Yuan Sanqu
7.1 The Status of Qu Communities and Compositional Characteristics of Sanqu
7.2 The Composition of Representative Qu Writers in the Evolving Stage
8 The Flourishing Stage of Yuan Sanqu
8.1 The Overview of Sanqu Composition in the Flourishing Stage
8.2 Three Masters
8.3 The Other Representative Qu-Writers
9 The Peaking Stage of Yuan Sanqu
9.1 The Overview of Composition of Sanqu and Styles of Schools
9.2 The Representative Qu-Writers of the Heroic Haofang School
9.3 The Other Qu-Writers of the Heroic Haofang School
9.4 The Representative Qu-Writers of the Elegant Qingli School
9.5 The Other Qu-Writers of the Elegant Qingli School
10 The Declining Stage of Yuan Sanqu
10.1 The Outline of Composition of Sanqu
10.2 The Representative Qu-Writers
11 Qu Criticism in Yuan China
11.1 On Aria-Singing
11.2 On Song-Composing
11.3 On Origins
11.4 On Styles
12 Bibliography of Studies on Yuan Sanqu
12.1 The Corpus of Song-Poetry
12.2 The Criticism of Song-Poetry
12.3 Formularies of Qu
Reference Matter
Index
