宋詞研究學者提出許多詞律上的規定與特色，然而有關宋詞詞調之間的互動研究仍相當缺乏，因此本研究旨在探討北宋詞人姜夔的十七首自度曲當中語言形式的規定與音樂的關係。本篇研究包含語料庫與理論分析，其中語料庫分析針對結構、節奏與聲調歸納出姜夔十七首詞當中的傾向，並佐以數據分析。理論分析根據優選理論的框架說明姜夔作品中的語言形式如何選擇，並證實所有輸出值皆可用階級式制約來決定。本篇研究希望能解釋宋詞中語言與音樂的關係並為詞牌規定提出不同觀點。

Researchers of Song verses have often proposed the rules to describe the poetic composition, but few have focused on the interactions between verse language and music. Therefore, the aim of the study attempts to explore how music and the linguistic requirements are related in Jiang Kuei’s seventeen verses. This research involves a corpus-based and a theoretical analyses. The corpus-based analysis focuses on structure, rhythm and tone to generalize the patterns of Jiang’s verses on a statistic basis. Under the framework of Optimality Theory, the theoretical analysis explains Jiang’s linguistic and musical arrangements in verses and confirms that the output forms are determined by a hierarchy of constraints. To conclude, this study sheds new light on the relationship between music and language and provides a fresh perspective on the Song verse formats.

English References
Abercrombie D. 1971. Some functions of silent stress. In Edinburgh studies in
English and Scots, ed. A.J. Aitken, Angus McIntosh, and Hermann Pálsson,
147-156. London: Longman
Ammer, C. 2004. The Facts on File Dictionary of Music. New York: Checkmark Books.
Anttila, Arto. In press. Derived Environment Effects in Colloquial Helsinki Finnish.
In Hanson, Kristin and Sharon Inkelas, (eds.), The Nature of the Word: Essays in Honor of Paul Kiparsky. MIT Press, Cambridge, Mass
Besson and Schön. 2001. Comparison between Language and Music. Annuals of the
New York Academy of Sciences 930:232-258.
Borchgrevink, H. 1982. Prosody and musical rhythm are controlled by the speech hemisphere. In M. Clynes (Ed.), Music, mind, and brain (pp. 151-157). New York: Plenum.
Chen, M. 1979. Metrical Structure: Evidence from Chinese Poetry. Linguistic Inquiry.
10. 371-420.
Chen, M. 1984. Unfolding Latent Principles of Literary Taste: Poetry as a Window onto Language. Tsinghua Journal of Chinese Studies. 16: 203-240.
Deutsch, D., Henthorn, T., Marvin, E., & Xu H-S. 2006. Absolute pitch among American and Chinese conservatory students: Prevalence differences, and evidence for a speech-related critical period. Journal of the Acoustical Society of America, 119, 719-722.
Dobrian, C. 1992. Music and Language. Retrieved March 15, 2008 from
http://music.arts.uci.edu/dobrian/CD.music.lang.htm
Duanmu, S. 2004. A Corpus Study of Chinese Regulated Verse: Phrasal Stress and the Analysis of Variability. Phonology 21. pp. 43-89.
Gilbers, D. 1987. Ritmische Structuur. In: Glot 10: 271-292.
Gilbers, D. and M. Schreuder. 2002. Language and Music in Optimality Theory. ROA-571.
Hayes, B. 1984a. The Phonology of Rhythm in English. LI 15. 1: 33-74.
Hayes, B. & A. Kaun. 1996b. The Role of Phonological Phrasing in Sung and Chanted Verse. The Linguistic Review 13 (Issue 3-4): 243-304.
Hendriks, P. and Sybrand van der Werf. 2004. A constraint-based approach to grouping in language and music. In: R. Parncutt, A. Kessler, & F. Zimmer (Eds.), Proceedings of the Conference on Interdisciplinary Musicology (CIM04), Graz, Austria.
Hsiao, Y. 1991a. Syntax, Rhythm and Tone. Taipei: Crane
Hsiao, Y. 1991b. A Beat-Counting Theory of Foot Phrasing. IsCLL. 2.
Jackendoff, R. 1989. A Comparison of Rhythmic Structure in Music and Language. Phonology and Phonetics. 1:15-44.
Kager, R. 2007. Feet and metrical stress. In Paul de Lacy (ed.) The Cambridge
Handbook of Phonology. Cambridge University Press, ch.9.
Kager, R. 1989. A metrical theory of stress and destressing in English and Dutch.
Dordrecht: Foris.
Kager, R. 1999. Optimality Theory. New York: Cambridge University Press.
Klatt, D. H. 1976. Linguistic uses of segmental duration in English: Acoustic and
perceptual evidence. Journal of the Acoustical Society of America, 59,
1208-1221.
Kenstowicz, Michael. 1996. Phonology in Generative Grammar.
Cambridge, MA: Blackwell.
Lerdahl, F. and R. Jackendoff. 1977. Toward a Formal Theory of Tonal Music, In: Journal of Music Theory, vol. 21: 111-171.
Lerdahl, Fred & Ray Jackendoff. 1983. A Generative Theory of Tonal Music.
Cambridge: MA: MIT Press.
Levitin, D. J., Menon, V., Schmitt, J. E., Eliez, S., White, C., Glover, G., Korenberg, J. R., Bellugi, U., & Reiss, A. L. 2003. Neural correlates of auditory perception in Williams syndrome: An MRI Study. NeuroImage, 18, 74–82.
Liberman, M. 1975. The Intonational System of English. Ph.D. dissertation. MIT.
Liberman, M. and A. Prince. 1977. On Stress and Linguistic Rhythm. Linguistic
Inquiry, 8, 249-336.
McCarthy, John J. 1986. OCP effects: gemination and antigemination. Linguistic Inquiry 17: 207-264.
McCarthy, John J. & Prince, Alan. 1993. Prosodic Morphology I: Constraint
interaction and satisfaction. Ms. University of Massachusetts, Amherst, and
Rutgers University, New Brunswick.
McCarthy, John and Alan. Prince. 1995. Faithfulness and reduplicative identity in J. Beckman et all, (eds.), Papers in Optimality Theory: University of Massachusetts Occasional Papers 18, University of Massachusets Press, MA, pp. 249-384
McCarthy, John. 2002. A thematic guide to Optimality Theory. (Research Surveys in Linguistics.) Cambridge: Cambridge University Press. Pp. xiii+317.
Meyer, L. B. 1956. Emotion and Meaning in Music. Chapters 1 & 2; pp. 1-82.
Chicago: Chicago University Press, 1956.
Nelson, Nicole. 2003. Asymmetric anchoring. PhD dissertation, Rutgers University,
New Brunswick.
Oehrle, R. 1989. Temporal structures in verse design. In: P.Kiparsky & G. Youmans
(eds) Rhythm and Meter: San Diego: Academic Press, 87-119.
Qiu, Qiongsun. 1959. Bai Shi Dao Ren Ge Qu Tong Kao [Textual Research on the
TSYR Songs]. Beijing: Music Press
Schreuder, M. 2006. Prosodic Processes in Language and Music. Ph.D. dissertation,
Research School of Behavioral and Cognitive Neurosciences (BCN), Groningen
Selkirk, E. 1984. Phonology and Syntax: the Relation between Sound and Structure.
Cambridge, Mass.: MIT Press.
Selkirk, E. 1986. On Derived Domain in Sentence Phonology. Phonology Yearbook.
3: 371-405
Sung Ci. Retrieved from http://www.crazyhill.com/hung/cciv/cciv14.htm on Jan. 25th, 2007.
Sundberg, J and B. Lindblom. 1991. "Generative Theories for Describing Musical Structure." Representing Musical Structure, Howell, P., West, R., and Cross, I. (editors), pp. 245-272. London.
Werf, Sybrand van der & Petra Hendriks 2004, A Constraint-based Approach Grouping in Language and Music. In: R. Parncutt, A. Kessler, & F. Zimmer
(Eds.), Proceedings of the Conference on Interdisciplinary Musicology (CIM04), Graz, Austria.
Yen, Hsiufang. 2004. Constraints and Ranking in Language and Music. Master Thesis. National Zhongcheng University.
Zuo, Yan. 2002. Classical Chinese Verse Grammar Coexisting Sub-grammars and Formal Grounding. Tilburg: Tilburg University
Zhao J. Chang. Five Tone Music and Its Application. Modern Music Online. Retrived
May 7, 2006, from
http://www.modernmusician.com/mm/depart-lession/Theo-PentaScale/Pentatoinc-Scale.html
Zhao, Yuen Ren. 1930. A system of tone letters. Le Maitre Phonetique 30:24-27.
Zhao, R. 1967. Song Dynasty Musical Sources and Their Interpretation. Hong Kong: The Chinese University Press.

Chinese References
林明輝. (Lin 1992). 《宋 姜夔詞樂之研析》. 高雄：復文圖畫出版社.
劉崇德. (Liu 2001).《唐宋詞古樂譜百首》. 河北：河北大學出版社.
簡上仁. (Jian 1987). 《台灣民謠》. 台北： 眾文書局.
曹達聰. (Tsao 1996).《南曲字調--音調與字調》. 台北：文史哲出版社.
楊蔭瀏. (Yang 1996).《中國音樂史綱》. 台北：中國音樂.
王力. (Wang 2002).《詩詞格律概要》. 香港：中華書局.
王光祈. (Wang 2005).《中國音樂史》. 廣西：廣西師範大學出版社.