CAJ | 학술논문

音乐表现手法是指作者为了传神地描写某种音乐或声音，使读者身临其境，在文本上所使用的一些写作手法和技巧。笔者以《琵琶行》、《李凭箜篌引》、《听颖师弹琴》为参照对比，分析《西厢记》第二本中“崔莺莺夜听琴”一折以声喻乐、以形喻乐、以典喻乐的音乐表现手法，并说明《西厢记》采用这样的手法是对音乐描写的突破。通过这些写作手法，在思想内容上更好地表现出了《西厢记》所传达的“愿普天下有情的都成了眷属”的美好愿望和崔莺莺、张生敢于反抗封建礼教的纯洁爱情。
음악표현수법시지작자위료전신지묘사모충음악혹성음，사독자신림기경，재문본상소사용적일사사작수법화기교。필자이《비파행》、《리빙공후인》、《은영사탄금》위삼조대비，분석《서상기》제이본중“최앵앵야은금”일절이성유악、이형유악、이전유악적음악표현수법，병설명《서상기》채용저양적수법시대음악묘사적돌파。통과저사사작수법，재사상내용상경호지표현출료《서상기》소전체적“원보천하유정적도성료권속”적미호원망화최앵앵、장생감우반항봉건례교적순길애정。
Description of music refers to the employment of words to describe music or other sounds to reproduce the environment for the readers. By making a comparison with other poems involving description of music, this paper analyzes the techniques – phonograms, images and literary allusions – used to de-scribe music in Scene II of The Romance of the West Chamber, claiming them a breakthrough in techniques of music description. These writing techniques greatly help highlight the theme of the play –let all those in love love – by vividly describing the love story of the hero and the heroine.