古琴音乐打谱之理论与实证研究

发布时间：2018-01-20 06:54

本文关键词： 古琴打谱减字谱指法管平湖姚丙炎广陵散酒狂碣石调·幽兰　出处：《中国艺术研究院》2006年博士论文　论文类型：学位论文

【摘要】：古琴音乐的打谱既是一项以复原古曲为宗旨的琴学研究工作,同时又是带有限定性的艺术创造活动。打谱者依据传承下来的古琴曲谱,凭借自身的弹奏经验与艺术诠释而将古谱再现、重建并赋予生命!打谱的过程,涉及到音乐史学,版本学、文献学、乐律学、历史学、指法翻译及琴谱考证等诸方面的问题。20世纪50年代以来,管平湖、吴景略、姚丙炎等前辈琴家在琴乐打谱方面进行了大量艰苦的工作,为琴乐打谱积累了丰富的经验。本文从以下几个方面对琴乐打谱的相关问题进行探讨和研究,全文分琴乐打谱理论梳理、琴乐打谱方法探析、前辈琴家打谱个案研究、古琴打谱实证分析四大部分。第一部分通过考察琴乐打谱概念及其由来,传统古琴记谱法的历史变迁,琴乐打谱的学术意义,近代以来琴乐打谱的实践与演变,以期对古琴音乐打谱的相关理论问题进行一些学理层面的梳理与探讨。第二部分为琴乐打谱的方法探析。通过对打谱过程中琴谱版本的选择与研究、琴曲内容与相关人文背景之分析、谱字之校勘、古琴指法谱字之解读与诠释、节奏的处理与安排、琴曲结构布局与旋律发展手法之分析、弹奏与定谱七个部分的探讨,以期对琴乐打谱的方法及相关问题进行分析、探索、归纳与总结。其中涉及文献学、版本学、古谱学、古琴指法分类及唐宋元明古琴指法流变之考辨、古代琴曲的结构模式及创作规律等问题的研究。第三部分为前辈琴家打谱个案研究。本节择取在琴乐打谱方面卓有成就的管平湖、姚丙炎两位前辈琴家,对其打谱的《广陵散》、《酒狂》等琴曲的分析研究,探讨其打谱活动的方法和个性风格,总结前辈琴家的打谱经验及示范性意义。第四部分为琴曲打谱的实例分析。本节择取《碣石调·幽兰》一曲,对其版本、乐曲内容、指法处理、节奏安排等方面进行探讨,并通过不同琴家打谱的(《碣石调·幽兰》的横向比对,以阐述古琴音乐打谱中的个性与风格特征。最后就建立琴乐打谱所应遵循的学术规范以及琴乐打谱之本质问题,提出几点思考与看法。古琴音乐是人类音乐文明在旋律、曲目、技法、音乐思想方面达到最高水平的范例之一。琴曲的打谱将向人们展示出琳琅满目、丰富多彩的古代琴乐作品,为继承、发展中国传统音乐提供生动的实例。本文通过对琴乐打谱的概念、意义、历史、方法的探讨与琴乐打谱个案与实证的分析,以总结前辈琴家的打谱经验,树立琴乐打谱之学术规范与严谨学风,从而为今后开展有体系的打谱,作一学理层面的铺垫。本课题对于当下古琴音乐遗产
[Abstract]:The composition of Guqin music is not only a research work of piano science with the aim of restoring ancient music, but also a limited artistic creation activity. With its own playing experience and artistic interpretation of the ancient music to reproduce, rebuild and give life! The process of writing music involves music history, versioning, philology, music law, history, finger translation and textual research of piano music. Since 50s, Guan Pinghu, Wu Jingluo. Yao Pengyan and other predecessors have done a great deal of hard work in playing music, and have accumulated rich experience in playing music. This paper discusses and studies the related problems of playing music in the following aspects. There are four parts in this paper: combing the theory of playing music, analyzing the methods of playing music, the case study of playing music of previous generations, and the empirical analysis of playing music of Guqin. The first part examines the concept and origin of the piano music score, the historical changes of the traditional music notation, the academic significance of the piano music score, and the practice and evolution of the piano music score since modern times. With a view to the Guqin music score related theoretical issues of some theoretical aspects of combing and discussion. The second part is the analysis of the methods of playing music. Through the selection and study of the music version, the analysis of the content and the related humanistic background, the collation of the spectrum characters, the interpretation and interpretation of the musical characters of the Guqin method. The processing and arrangement of the rhythm, the analysis of the structure layout and melody development technique of the piano, the discussion of seven parts of playing and determining the score, in order to analyze and explore the methods and related problems of the playing of the piano music. It involves the studies of philology, versioning, ancient genealogy, classification of Guqin fingering, the evolution of Guqin fingerprinting in Tang, Song, Yuan and Ming dynasties, and the structural pattern and creative law of ancient piano songs. The third part is the case study of playing music of the forefathers. This section selects Guan Pinghu, who has made great achievements in playing music music, and Yao Bingyan, who plays music in Guangling San. In this paper, the author analyzes and studies the lyric music, probes into the methods and individual style of its score playing activities, and sums up the music playing experience and the demonstration significance of the previous pianists. The 4th part is an example analysis of the piano composition. In this section, the author chooses Jieshi tune & pyloric Orchid, and probes into its edition, music content, finger handling, rhythm arrangement and so on. In order to expound the personality and style of Guqin music composition, the horizontal comparison of Jieshi tune and pyloric orchid was made by different pianists. Finally, some thoughts and opinions are put forward on the academic norms to be followed in the establishment of the score of piano music and the essential problems of the score of playing music of piano music. Guqin music is one of the best examples of music civilization in melody, music, technique and music thought. In order to inherit and develop Chinese traditional music, this paper provides vivid examples. This paper discusses the concept, significance, history and method of piano music score, and analyzes the case and demonstration of piano music score. In order to sum up the music playing experience of the predecessors, set up the academic standard and rigorous study style of the piano music score, so as to develop the systematic score in the future, and make a theoretical foundation. This topic is for the music heritage of the ancient piano.
【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】：2006
【分类号】：J632.31

【引证文献】