《五知斋琴谱》四曲研究
发布时间：2018-07-23 14:51
【摘要】： 古琴音乐，是中国文化的重要组成部分，是中国音乐的代表。由于其历史悠久，文献丰富，相对保存完好，流传千载，从未中断，一直被学界认为是中国古代音乐的活化石。历史上有些著名的音乐品种或样式，由于种种原因今已失传，籍着琴乐这一“从未中断”的河流，可做不少珍贵的钩沉、稽古工作。近代以来的琴学研究，在文献的搜集上，取得了举世瞩目的成就，而对于琴学之某一方面的专题性研究，尚有很多空白。或者说，建立在文献基础上的琴学之诸多方面的理论总结，尚嫌不足。尤其是对于古琴音乐本身的规律性认识，目前还比较模糊，这与我们近百年来在琴学文献整理方面所取得的巨大成就相比，是有一定距离的。基于此，笔者在导师吴钊先生、伍国栋先生的指导下，认为对琴曲本身进行研究，是琴学研究的基础性工作，如果能够在这方面取得些许成绩，将有助于我们正确认识中国古代音乐风格演变的历史；有助于我们了解古琴音乐与与古代人文生活的密切关系；进而为中国音乐史研究中所遇到的古乐形态方面的问题，提供一些可参考的资料。 为了勾勒古琴音乐的发展轨迹，进而初步得出有关琴曲风格演变历史的规律性认识，本文以清代《五知斋琴谱》所收《墨子悲丝》、《汉宫秋月》、《潇湘水云》、《胡笳十八拍》等四首琴曲为研究对象，全文共分：第一章绪论；第二章《五知斋琴谱》产生的历史背景；第三章四首琴曲的音乐学分析；第四章从四首琴曲看明清琴乐的美学追求；第五章从四首琴曲看明清琴乐的艺术成就；第六章结论。 本文的主体为琴曲分析，有描述，有解释，也有分析过程中的思考、概括出来的规律、提出的问题和得出的结论。除了对琴曲之渊源流变、文献记载、背景资料所做的梳理，还将考察琴曲的具体指法、用音、句子、段落以及整体的结构布局，悉心体会古人，，并参以当代有代表性琴家的演奏录音和记谱。乐器形制发展的历史和古琴特有的演奏方法，都会直接或间接地影响到古琴音乐的形态，如节奏特征、装饰效果、音色变化等等。另外，琴曲形态与语言、音韵及文体的关系，与不同历史时期的社会生活、艺术追求、文人好尚的关系，也在本文的研究视野中。 笔者希望通过论证，能够对古琴音乐在如下几方面获得明晰的认识：作为中国传统音乐的精华，古琴音乐是中国音乐美学趣味的集中体现；古琴音乐是中国音乐的主流；古琴音乐历经千年的发展演变，至明清时已呈深化和多元化发展之势，直至今日之现代社会仍有不可替代的价值，是人类(更是中国人)精神生活的需要；当代中国音乐应很好地继承这一笔丰富的文化遗产。
[Abstract]:Guqin music is an important part of Chinese culture and a representative of Chinese music. Because of its long history, abundant documents, relatively intact, spreading for thousands of years, never stopped, it has been regarded by scholars as a living fossil of ancient Chinese music. Some famous music varieties or styles in history have been lost because of various reasons. In modern times, the study of piano has made great achievements in the collection of literature, but there is still a lot of blank in the study of some aspects of piano science. In other words, the theoretical summary of many aspects on the basis of literature is not enough. In particular, the understanding of the regularity of Guqin music itself is still rather vague at present, which is far away from the great achievements we have made in the literature collation of Guqin in the last hundred years. Based on this, the author, under the guidance of his mentors, Mr. Wu Zhao and Mr. Wu Guodong, believes that the study of piano music itself is the basic work of the study of piano science, and if some achievements can be made in this respect, It will help us to correctly understand the history of the evolution of ancient Chinese music style, help us understand the close relationship between Guqin music and ancient human life, and further contribute to the problems of ancient music forms encountered in the study of Chinese music history. Provide some reference materials. In order to outline the development track of Guqin music, and then draw a preliminary understanding of the history of the evolution of the piano music style, In this paper, four piano songs, "Mozi sad silk", "Han palace autumn moon", "Xiaoxiang Shuiyun" and "Hu Jia 18 pas", which were collected in the Qing Dynasty "Wuzhi Zhai Qin", are taken as the research objects. The whole paper is divided into four parts: the first chapter is an introduction, the second chapter is the historical background of the emergence of Wuzhi Zhai piano. The third chapter is the musicology analysis of the four piano songs; the fourth chapter looks at the aesthetic pursuit of the Ming and Qing Qin music from the four piano songs; the fifth chapter looks at the artistic achievements of the Ming and Qing piano music from the four piano songs; the sixth chapter concludes. The main body of this paper is the analysis of piano music, including description, explanation, thinking in the process of analysis, the law of generalizing, the problems raised and the conclusions reached. In addition to combing the origin, documentary records, and background information of the piano music, it will also examine the specific fingering of the piano music, use the sound, sentences, paragraphs and the overall structure of the arrangement, and carefully understand the ancients. And to the contemporary representative pianist playing recordings and notes. The history of the development of musical instrument form and the unique playing method of Guqin will directly or indirectly affect the musical form of Guqin, such as rhythm, decorative effect, timbre change and so on. In addition, the relationship between the form of piano and language, phonology and style, social life in different historical periods, artistic pursuit and literati is also in the research field of this article. The author hopes to have a clear understanding of Guqin music in the following aspects: as the essence of Chinese traditional music, Guqin music is the concentrated embodiment of Chinese musical aesthetic interest, Guqin music is the mainstream of Chinese music, and Guqin music is the mainstream of Chinese music. Guqin music has undergone a thousand years of development and evolution, to the Ming and Qing dynasties has been deepening and diversified development trend, up to today's modern society still has irreplaceable value, is the human (but also the Chinese) spiritual life needs; Contemporary Chinese music should inherit this rich cultural heritage.
【学位授予单位】：中国艺术研究院
【学位级别】：博士
【学位授予年份】：2002
【分类号】：J609.2
本文编号：2139747
[Abstract]:Guqin music is an important part of Chinese culture and a representative of Chinese music. Because of its long history, abundant documents, relatively intact, spreading for thousands of years, never stopped, it has been regarded by scholars as a living fossil of ancient Chinese music. Some famous music varieties or styles in history have been lost because of various reasons. In modern times, the study of piano has made great achievements in the collection of literature, but there is still a lot of blank in the study of some aspects of piano science. In other words, the theoretical summary of many aspects on the basis of literature is not enough. In particular, the understanding of the regularity of Guqin music itself is still rather vague at present, which is far away from the great achievements we have made in the literature collation of Guqin in the last hundred years. Based on this, the author, under the guidance of his mentors, Mr. Wu Zhao and Mr. Wu Guodong, believes that the study of piano music itself is the basic work of the study of piano science, and if some achievements can be made in this respect, It will help us to correctly understand the history of the evolution of ancient Chinese music style, help us understand the close relationship between Guqin music and ancient human life, and further contribute to the problems of ancient music forms encountered in the study of Chinese music history. Provide some reference materials. In order to outline the development track of Guqin music, and then draw a preliminary understanding of the history of the evolution of the piano music style, In this paper, four piano songs, "Mozi sad silk", "Han palace autumn moon", "Xiaoxiang Shuiyun" and "Hu Jia 18 pas", which were collected in the Qing Dynasty "Wuzhi Zhai Qin", are taken as the research objects. The whole paper is divided into four parts: the first chapter is an introduction, the second chapter is the historical background of the emergence of Wuzhi Zhai piano. The third chapter is the musicology analysis of the four piano songs; the fourth chapter looks at the aesthetic pursuit of the Ming and Qing Qin music from the four piano songs; the fifth chapter looks at the artistic achievements of the Ming and Qing piano music from the four piano songs; the sixth chapter concludes. The main body of this paper is the analysis of piano music, including description, explanation, thinking in the process of analysis, the law of generalizing, the problems raised and the conclusions reached. In addition to combing the origin, documentary records, and background information of the piano music, it will also examine the specific fingering of the piano music, use the sound, sentences, paragraphs and the overall structure of the arrangement, and carefully understand the ancients. And to the contemporary representative pianist playing recordings and notes. The history of the development of musical instrument form and the unique playing method of Guqin will directly or indirectly affect the musical form of Guqin, such as rhythm, decorative effect, timbre change and so on. In addition, the relationship between the form of piano and language, phonology and style, social life in different historical periods, artistic pursuit and literati is also in the research field of this article. The author hopes to have a clear understanding of Guqin music in the following aspects: as the essence of Chinese traditional music, Guqin music is the concentrated embodiment of Chinese musical aesthetic interest, Guqin music is the mainstream of Chinese music, and Guqin music is the mainstream of Chinese music. Guqin music has undergone a thousand years of development and evolution, to the Ming and Qing dynasties has been deepening and diversified development trend, up to today's modern society still has irreplaceable value, is the human (but also the Chinese) spiritual life needs; Contemporary Chinese music should inherit this rich cultural heritage.
【学位授予单位】：中国艺术研究院
【学位级别】：博士
【学位授予年份】：2002
【分类号】：J609.2
【引证文献】
相关博士学位论文 前3条
1 张晓娟;中国弦乐史研究六十年（1949-2009）[D];福建师范大学;2010年
2 李松兰;穿越时空的古琴艺术[D];上海音乐学院;2011年
3 李小戈;广陵琴派的文化生态研究[D];南京艺术学院;2008年
相关硕士学位论文 前3条
1 梁晓镌;琴曲《潇湘水云》流变初探[D];中央音乐学院;2011年
2 董文静;论古琴右手指法的发展与变迁[D];武汉音乐学院;2008年
3 张卓;琴歌《胡笳十八拍》研究[D];中央音乐学院;2010年
本文编号：2139747
本文链接：https://www.wllwen.com/wenyilunwen/musictheory/2139747.html
