Music
Music 35 ment of tz'u patterns is by length of poem, starting with the shortest types and ending with the longest. The basic or best-known form of each pattern is presented through actual poems from the collections of a wide range of poets. For example, the tz'u to the tune of ‘Yi Chiangnan ', containing twenty-seven characters, is represented by a poem of Huang-fu Sung (fl. c. 859).6 Other titles ofthe tz'u pattern are listed as well as background information about the pattern itself, and any tonal or structural irregularities. If there are other forms of the patterns examples of these are given under the heading yu yi t'i 又一體 (another form). In the case of ‘Yi Chiang-nan' there are two forms, one in fifty-four characters, which is simply a two-stanza version of the first form, and one in fifty-nine characters which has a very different arrangement of line length and rhyme. In the Tz'u lü, tones are not shown except in places where a choice of tones may be used. These places are indicated by the interpolated characters k'o-tse 可仄 (can use defl.ected tone), and k'o-p'ing 可平 (can use level tone). In the Tz'u p'u, 的 Baxter points out in the Bibliographical Note to his lndex, p. xi, tones are indicated by a series of circles: 0 indicates level tone (p'ing) , e indicates defl.ected tone (tse), • indicates 1evel where deHected is a1so permissible, and 角 indicates defl.ected where level is also permissible. It can be seen from the care taken in designating tones and rhymes in each tz'u pattern that the rules of versification were as complex as those of the lü-shih. Many handbooks and studies of prosody appeared in the latter part of the Sung dynasty and in later periods.7 Music Since the patterns for composing the lyrics of tz'u have been so carefully preserved, it is possible for poets even today to write in this verse form.8 The music for which the lyrics were composed is quite another story, however. The singing of tz'u had been a very popular form of entertainment from the late T'ang into the Southern Sung. 6 Tz勻的， 1j8b-9a. 7 One work in which the many di仔'erent elements of 紹'u prosody are brought together is the Tz'u hsüeh ch'üan-shu (Complete book for the study of tz'u), compiled by Ch'a Chi-ch'ao with preface dated 1746, which includes discussions of tz'坑 register of tz'u patterns, and a rhyming dictionary. Much more helpful, however, is the work by the modern Chinese scholar, Wang Li, Han-yü shih-Iü hsüeh (Study of Chinese prosody), which is a systematic analysis of the rules of versification for 弱的， 但切， and the later ch'ü. 8 Mao Tse-tung is one of the most striking examples of modern Chinese who have continued to use the old verse form. ...
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