琵琶音律的研究

发布时间：2018-06-18 14:24

本文选题：琵琶 + 形制　；参考：《温州大学》2011年硕士论文

【摘要】：琵琶,作为中国传统弹拨乐器,有着悠久的历史。古代琵琶分为两种:一种圆体直颈、四弦十二柱,是中原本土琵琶,被称为“秦琵琶”或“秦汉子”;另一种则为由域外传入的曲项梨形琵琶,包括四弦琵琶和五弦琵琶。中原本土琵琶发展到唐代,已经成为了另一种乐器“阮咸”。而我们现代的六相二十四品琵琶,则是在域外传入的曲项梨形琵琶的基础上发展起来的。本文研究的主要内容是,域外琵琶入华后,形制的演变,即从唐代的四柱、到明清时期的四相十品、到现代的六相二十四品等等;乐调的变化,从苏祗婆七调,到琵琶八十四调,到唐燕乐二十八调;音律的使用,即从早期的五度相生律,到后来的平均律趋向,五度相生律印痕、纯律遗留、四分之三音(明清老七品)意味等等;乐谱传绪,最早有五代后唐长兴四年的“敦煌琵琶谱”,其后则有《华氏琵琶谱》等等。近现代以来,对于琵琶艺术的研究多偏重于古代琵琶的发展和演变,以及中国近现代琵琶主要流派、演奏家以及演奏技巧等,对琵琶音律的研究则关注不够。本论文将采用文献考索与田野调查来获得研究之材料;以乐律学、音乐史学、乐器学等学科的方法及方法论进行研究。从早期西亚琵琶的传入,到中国近现代琵琶,观照阮咸、征引古琴、参考日本唐传琵琶以及福建南音琵琶等等,尽可能地以律、调、器、谱进行综考,目的是厘清近现代琵琶音律的基本脉络,能够有利于中国琵琶艺术的发展。全文首先对琵琶传入中国的演变历程进行回顾,并且对古代苏祗婆琵琶与唐琵琶律、调进行分析,古代琵琶运用的是五度相生律,唐“二十八调”、琵琶“八十四调”理论上的推算要大于音乐实践。其次,观照阮咸,指出中国近代四相十品琵琶、或四相十二品琵琶的“旧七品”具有“中立音”意味。通过对现代六相二十四品琵琶,以及福建南音琵琶各柱位音律的测量与分析,现代六相二十四品琵琶“第四相”、“第十品”,与福建南音琵琶的“第三相”为纯律大三度(386音分);其它的相、品,则既有靠近五度相生律之半音(90音分),也有靠近十二平均律之半音(100音分),故笔者认为,现代六相二十四品琵琶的音律,既有“十二平均律”的倾向,又有“五度相生律”的印痕,还有“纯律”的遗留。其中第四相的纯律大三度,亦有可能是受古琴十一徽之影响。最后,为了更进一步佐证笔者对近、现代琵琶音律的测算与认识,以近代琵琶演奏指法符号与古琴演奏指法符号之比照,揭示古琴对近代琵琶之影响;以近、现代琵琶演奏的具体谱例,坐实近、现代琵琶之音律。并对现代琵琶演奏“变律”的技法,作出了具体的谱例举证。
[Abstract]:Pipa, as a traditional Chinese plucked instrument, has a long history. There are two kinds of pipa in ancient times: one is straight neck with four strings and twelve columns, which is called "Qin pipa" or "Qin man", and the other is piriform pipa with four strings and five strings. Central Plains local pipa developed to Tang Dynasty, has become another kind of musical instrument, Ruan Xian. And our modern six-phase 24 pipa is developed on the basis of the foreign music item pear-shaped pipa. The main contents of this paper are the evolution of the form of the foreign pipa after its entry into China, that is, from the four pillars of the Tang Dynasty to the four phases of the Ming and Qing dynasties, to the modern six phases of 24, and so on. To the pipa 84 tone, to Tang Yan Yue 28 tune; the use of the rhythm, that is, from the early fifth degree law, to the later average law trend, the fifth degree law imprint mark, pure law, 3/4 tone (Ming and Qing Dynasty seven old products) meaning and so on; The first four years after Tang Changxing, Dunhuang pipa music, followed by Fahrenheit pipa spectrum and so on. Since modern times, the study of pipa art has focused on the development and evolution of ancient pipa, as well as the main schools, performers and performance techniques of Chinese modern pipa, but not enough attention has been paid to the study of the rhythm of pipa. In this paper, literature research and field investigation are used to obtain the research materials, and the methods and methodology of music law, music history, musical instrument science and so on are studied. From the introduction of the early West Asia pipa to the modern Chinese pipa, looking at Ruan Xian, introducing Guqin, referring to Japan's Tang Dynasty pipa and Fujian Nanyin pipa, and so on, conducting a comprehensive examination of the law, tune, instrument, and spectrum as far as possible. The purpose is to clarify the basic context of modern pipa rhythm, which can be beneficial to the development of Chinese pipa art. First, the paper reviews the evolution of pipa's introduction into China, and analyzes the tune of ancient Su's pipa and Tang's pipa. The ancient pipa is composed of five degrees of harmony, and the Tang Dynasty's "28 tune". The theoretical calculation of Pipa's 84 tune is greater than that of music practice. Secondly, looking at Ruan Xian, the author points out that the "old seven products" of the four phases and ten products of the pipa in modern China, or the four phases and twelve products of the pipa, have the meaning of "neutral tone". Through the measurement and analysis of modern six phase 24 pipa and Fujian Nanyin pipa, it is found that modern six phase 24 pipa is "the fourth phase", "the tenth product". The "third phase" of Fujian Nanyin pipa is a pure Rhythm 3 / 3 / 386, and the other phases and products are as follows: both the penetram of 90 and the penetrable of 100, which are close to the five-degree law, so the author thinks that the third phase of Fujian Nanyin pipa is composed of three degrees of pure Rhythm and a third degree of pure Rhyme. The rhythm of modern six phase 24 pipa has the tendency of "twelve average law", the imprint of "five degree law", and the legacy of "pure law". Among them, the fourth phase of pure law three degrees, may also be affected by the 11 Guqin Emblem. Finally, in order to further support the author's calculation and understanding of the recent and modern pipa rhythm, the comparison between the modern pipa playing finger symbol and the Guqin playing finger symbol reveals the influence of the ancient lute on the modern pipa. The modern pipa plays the concrete spectrum example, sits the solid near, the modern pipa rhythm. And to the modern pipa performance "change the law" the technique, has made the concrete spectrum example proof.
【学位授予单位】：温州大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J632.33

【引证文献】