从入乐的角度来说,＂竹枝词＂创作原本就是古代巴楚《竹枝》乐歌的歌辞记录。在歌声形态方面,古代巴楚《竹枝》乐歌于传唱过程中就出现过单曲短歌、由若干单曲连缀而成的联章之歌、由若干单曲连缀且具备＂艳＂、＂解＂的联章之歌等几种主要的类型,而这些歌声形态都对《竹枝》歌辞文本形式的定型产生了重要的影响。

From point of musical angle,Zhuzhici is the record of Zhuzhi songs’lyric.In the process of the spread of Zhuzhi songs,its melodic form has created three types:Single Tune;Association Tunes linked by several Single Tunes;Association Tunes which have Yan (a component of the tune) and Jie (a component of the tune).As is known to all,these melodic forms have produced important effects on the formation of Zhuzhici’s texts.

明末清初出现了多部红拂剧作,以张凤翼《红拂记》、凌濛初《红拂三传》、冯梦龙《女丈夫》及近年发现的曹寅《北红拂记》为代表,各剧本之间关联紧密。经比对分析可知,推陈出新是红拂剧改编的轨迹,不同的曲学主张和创作意图是红拂剧改编的原因。围绕红拂剧目的改编与评点,汤显祖、凌濛初、冯梦龙、吕天成、沈德符、曹寅、尤侗等曲作家、曲论家纷纷卷入其中,在曲辞、音律、情节架构、场上案头等方面表达了各自的曲学立场,从中可以窥见明末清初曲学界理论上的分歧所在。

Many Hong Fu plays in the late Ming and early Qing Dynasty were all closely related , such as Hong Fu Drama written by ZHANG Fengyi , Hong Fu Three Biography by LING Mengchu , Woman Husband by FENG Menglong and North Hong Fu Drama by CAOYin.A contrastive study shows that the track of this adaptation is to achieve innovations , and different views and creative purpose are their causes.On the adaptationa and criticism , many dramatists and critics are involved , for example, TANG Xianzu, LING Meng-chu, FENG Menglong, LV Tiancheng, SHEN Defu, CAO Yin, YOU Tong.They all showed their own viewpoints on drama , tonality, plots and the characters on and off the stage , from which major differences on the drama theory in the late Ming and early Qing Dynasty can be reflected .

郭茂倩将“鼓吹”与“横吹”从汉鼓吹乐的杂合状态中析出，分别设类，但如何把握鼓吹与横吹乐的区别与联系，郭氏解题未能给出明确答案。如果我们根据出土文献保存的音乐表演信息，借助音乐图像与书面文献资料互证，便不难发现，在乐器的使用上，鼓吹无角，却有鼓、铙和短箫，歌者击铙、鼓为节而歌，构成鼓吹乐的基本特征。横吹则以角、笛为标志性乐器，又有小型节鼓，鼓手或即歌者。值得强调的是，横吹曲虽然源于北狄诸国的马上之乐，但马上奏乐只能算作骑吹的标志，与军乐并无必然联系，亦非鼓吹与横吹的区分标志。尤其是鼓吹与横吹乐自汉以后仍不断发展演化。通过音乐图像还可以看出，乐器使用上的差异所形成的音乐特征才是鼓吹与横吹乐的本质区别，这在某种程度上弥补了目前书面文献记述零散不系统的缺憾，对乐府音乐学的研究至关重要。由汉至唐，鼓吹与横吹曲辞在音乐与文学的交织中继续发展，蔚为大观，郭茂倩将其从“鼓吹乐”中分列出来，不仅彰显了两类曲辞的音乐学与文学成就，还昭示出汉唐乐府诗的发展趋势与脉络，具有重要的乐府学意义。

Although"guchui"and"hengchui"have been selected out of the heterozygous state of precipitation respectively by Guo Mao-qian from the Chinese drum music,he didn''t clearly tell the difference and the relation between them.Ac-cording to the music performance information preserved in unearthed documents and by means of music image,it is not difficult to find that there are drums,cymbals and short flute except horns in the music of guchui,the singer sings strik-ing cymbals which constitutes the basic characteristics.However angle and flute as the sign of musical instruments,there is also a small drum in hengchui music,and the drummer is maybe the singer.It is worth emphasizing that although heng-chui songs are due to the music of the Northern-Di countries,but performing on the horse only as a sign of qichui and it is not necessarily linked with army music and it is not the essential difference with guchui.The most important difference is the musical characteristics caused by the

汉唐时期,"蚩尤旗"被定义为类彗,而后曲象旗的天象,是兵灾、国丧等灾异的征兆。在汉唐典籍的有关记载中,有为了硬套事应而出现史实错误,如有一次天象不同文献所载事应不同等现象的出现。而"蚩尤旗"的占辞可能也经历了术家根据天象之后的时事,结合现实政治而加以修改的过程。从社会学的角度考察,当时民众之所以迷信这些天象星占,是与汉唐时期的现实政治情况,阴阳五行为主的主流儒家思想、佛道等宗教神秘主义,以及别有用心者的利用密不可分的。

From Han to Tang Dynasty,“Chi You flag”was defined as a comet, and tail bending like the flag, a symbol of war and the funeral. In the record, what appeared in order to hard set of things should be recorded and when proved to be false, a different document the contained the phenomenon such as different events should be aviailable. And we may also experience the divination according to the astronomical phenomenon after the current events, which are combined with political reality and modified process. From the perspective of the sociology, when people superstitious these astronomical phenomena and divination, and at that time it is real political situation that counts, so do, the mainstream of Confucianism, Buddhism and Taoism religious mysticism, and those who have ulterior motives to use the inseparable.