落入凡间的天音—《敦煌乐谱》研究

发布时间：2018-04-08 07:11

本文选题：敦煌乐谱　切入点：双叠句法　出处：《西安音乐学院》2013年硕士论文

【摘要】：《敦煌乐谱》是二十世纪初在敦煌莫高窟藏经洞发现的《长兴四年中兴殿应圣节讲经文》经卷后面抄写的乐谱，其中编号P.3539的为二十个谱字；编号为P.3719的是一份仅存十个谱字的《浣溪沙》残谱；而编号为P.3808的则为保存较为完整的二十五首乐曲琵琶谱，也是本文研究的主要对象。文章通过对《敦煌乐谱》P.3808叶栋、陈应时译谱版本中音乐诸要素的研究，结合其他学者对这部古代曲谱的研究成果及解读，对乐曲中的句读划分、旋律进行、节奏节拍、速度力度、调式调性等音乐语言特征进行探索，运用叶栋提出的“双叠句法”、陈应时的“旋律重合”法、沙汉昆的“间插句排除法”以及李吉提《中国音乐结构分析概论》书中对中国传统音乐的分析方法等，启迪笔者深入乐曲内部对《敦煌乐谱》中二十五首乐曲文本进行深入细致的分析研究。具体研究包括以下两个方面：（一）叶栋、陈应时《敦煌乐谱》P.3808两种译谱版本的曲式结构研究：曲式结构框架 “曲式仅仅是音乐结构的一个方面，是音乐结构定型化和模式化的产物1”，而中国传统音乐由于和西方音乐的发展道路不同，并未能取得如西方共性写作时期统一、规范化的曲式分类，这是由于多方面原因造成的，然而自由、多样化的音乐却恰如其分的彰显着中国式的意蕴——形散神不散，没有固定模式结构不等于没有音乐结构，在我国传统音乐中，有些结构模式化程度较高，可以概括出其曲式结构形式，而有些结构框架比较随意，遇到这种情况，笔者认为应更多注重其微观方面如音乐语言及其音乐表现手法等方面而非刻意要求其格式化的结果。所以需再次强调说明，本文第二章叶栋译谱版本由他自己归纳的曲式结构虽以西方传统曲式结构形态进行表现，其实质只能说是相当或近似于西方传统曲式结构。（二）《敦煌乐谱》P.3808的音乐语言研究： 1.两种译谱版本的音乐语言、体裁、风格特征分析之比较从叶栋、陈应时两种译谱版本的25首乐曲内部结构入手展开分析，初步由调式调性、节奏节拍、速度力度、旋律进行、结构以及各部分的写法等方面探索、比较《敦煌乐谱》P.3808两种乐谱版本的异同以及音乐表现特征，归纳出主题的生成、素材的发展手法、以及乐思的呈示、发展、收束、和引子、连接、尾声等附属结构音乐材料的组织形态特征。（1）调式、调性及其表现力据笔者分析统计，在《敦煌乐谱》P.3808中除了第10曲《又慢曲子》为五声调式外，其余均为六声和七声调式,其中又以雅乐七声调式乐曲占据多数。古代敦煌由于地域及历史原因民族众多、文化多元，敦煌莫高窟又历经千年朝代更迭，抄写于五代时期公元933年之前的《敦煌乐谱》，特别是P.3808琵琶谱，无论在文化还是艺术史上都具极高的学术价值。（2）节奏节拍及其表现力节拍、节奏的变化多样性，无疑丰富着音乐的表现力。《敦煌乐谱》P.3808在节拍选择上很有特点，从叶栋的译谱版本来看，除了常用的2/4拍、3/4拍外，还较多使用4/4拍以及5/4，并在乐曲中频繁使用变换节拍；从陈应时的译谱版本来看，节拍变换更是多种多样，2/4、3/4、4/4、5/4、6/4拍都有涉及。我们将在第三章第二节着重对比两种版本，在节拍上的变化位置、规律以及表现力进行分析。（3）旋律进行特征及其表现力通过对《敦煌乐谱》P.3808文本的分析发现其旋律所含特性音程并结合节奏、节拍的变换等要素共同影响着音乐风格的形成，笔者从量化各类音程结构着手探寻其中特性音程的发展规律，并结合节奏特征探讨旋律形态发展的规律。（4）结构内部及其各部分写法通过对《敦煌乐谱》P.3808译谱版本的初步观察，我们已能清楚地看到它的大致结构和分组上的特点，无论哪种版本的译谱，都有着千丝万缕的异同点，由于定弦不同等原因乐曲被分为三组，每一组乐曲的曲式结构、调式等虽然不尽相同，但调性和乐曲终止时的扫弦却基本保持着一致性，纵观《敦煌乐谱》，，25首乐曲结构精短，笔者以叶栋的双叠句法为依据对其译谱进行分析，发现其中曲式结构丰富多样，一段体结构的有4首，两段体结构的乐曲为15首，三段体结构乐曲有4首，据以上统计，可以看出《敦煌乐谱》P.3808乐曲以两段体结构为主。将叶栋、陈应时两种译谱版本进行比较，发现其中五声调式的只有一曲，六声调式的有6曲，其他均为七声调式的乐曲，而七声乐曲中雅乐又占大多数，在以上罗列的数字中，我们可以大致了解《敦煌乐谱》宏观的结构以及简单的乐曲曲式结构和分布情况，在正文中，我们将细致分析乐谱中25首乐曲的内部结构，关注主题的生成手法和乐句句读的划分、包括中间部、再现部以及附属结构的写法和结构功能等。综上所述，本文将对《敦煌乐谱》P.3808的25首乐曲在音乐语言和素材组织等方面进行具体分析和概括总结。敦煌古乐独具艺术价值，研究它对于弘扬、传承我国传统音乐文化意义重大，希望能够引起学者们的关注，更希望此文能为其他学者提供思路、为现代音乐创作者在实践中提供参考借鉴！
[Abstract]:< > Dunhuang music is found in Dunhuang at the Mogao Grottoes in early twentieth Century "Changxin four years should ZTE Temple Saint Festival jiangjingwen > scrolls back copy of the music, the number P.3539 twenty spectrum word; number P.3719 is a spectrum of only ten words" huanxisha "and the number of residual spectrum; P.3808 is a more complete preservation of the pipa music spectrum is twenty-five, the main object of this article.
Based on the "Dunhuang music >P.3808 leaves, Chen Yingshi translated versions of the music spectrum elements, combined with the research results of other scholars and interpretation of this ancient music, the music melody, punctuation division, rhythm, speed, intensity, explore tonality and other musical language features, using the proposed building leaf the" double syntax ", Chen Ying's" Melody coincidence "method, Shahankun" inserted between the sentence of elimination "and Li Ji" Chinese music structure analysis > Book of Chinese traditional music analysis method, the author deeply inspired music inside the in-depth and detailed analysis on "Dunhuang music" twenty-five pieces of text.
The specific research includes the following two aspects:
(1) a study of the musical structure of the two versions of the Dunhuang music version of the Dunhuang music >P.3808, Chen Ying.
Structural frame
The form is only one aspect of the structure of music, music is a product of structured and modularized 1 ", and development of traditional music and western music China due to different, and failed to achieve such as the Western common writing period unified specification form classification, it is caused by many reasons, however free, but a variety of musical shows, to a proper extent casual God meaning China type, there is no fixed pattern structure is not equal to no music structure in Chinese traditional music, some structure degree is high, can be summed up in its form structure form, structure and some casual, encounter this kind of situation, I think we should pay more attention on the micro aspects such as music language and music performance skills rather than deliberate the formatted results. So again emphasized that the second chapter of Ye Dong The version of the translated version is represented by his own musical form, though it is expressed in the western traditional music form. Its quality can only be said to be equivalent to or similar to the western traditional music structure.
(two) < music language study of Dunhuang music score >P.3808:
1. comparison of two versions of musical language, genre and style
From Ye Dong, Chen Ying two translation versions of the spectrum of 25 songs with internal structure analysis, preliminary by tonality, rhythm, rhythm, speed and intensity, explore the structure as well as part of the writing and other aspects, comparison of < Dunhuang >P.3808 two versions of the music and music with different features, summed up the theme the generation, development of material technique, shows, and a thought of music development, and introduction, connection, promotion, organization structure and other ancillary features end music materials.
(1) regulation, tonality and its expressiveness
According to the statistics, in Dunhuang in addition to tenth >P.3808 < music song and slow tune > five tone, the rest are six times and seven tone, the seven tone music music occupy the majority.
Ancient Dunhuang due to historical reasons and many national and regional, cultural diversity, and the Mogao Grottoes in Dunhuang after the Millennium dynasties, copied to the Five Dynasties period before A.D. 933 "Dunhuang music", especially P.3808 Pipa spectrum have high, both in culture and art in the history of academic value.
(2) rhythm rhythm and its expressive force
Beats, rhythm changes in diversity, undoubtedly enrich the expressive force of the music. Dunhuang music >P.3808 has a characteristic in the rhythm of choice, from the leaf, translation spectrum version, in addition to the commonly used 2/4 film, 3/4 film, 4/4 film and 5/4 is widely used in the music, and the frequent use of the change of rhythm; from Chen Ying's translation version of the beat spectrum, transform is more diverse, 2/4,3/4,4/4,5/4,6/4 are involved. We will be in the third chapter second section focuses on the comparison of the two versions, change of position on the beat, analyze the regularity and performance.
(3) the characteristics and expressiveness of melodies
Through the analysis of the >P.3808 score < Dunhuang text found its melody with characteristic interval and combined with the rhythm, the rhythm of transformation factors affect the formation of music style, the author start from the quantitative structure of various kinds of intervals which explore the development characteristics of the interval, and to explore the law of the development of the form of melody rhythm features.
(4) the interior of the structure and its various parts
Through the preliminary observation of the "Dunhuang music >P.3808 version of the spectrum, we can clearly see the characteristics of its general structure and grouping of either version of the translation spectrum, are inextricably similarities and differences, because the music has different reasons were divided into three groups, each group of music musical structure the melody, although not the same, but the termination of tonality and music sweeping strings is kept consistent throughout Dunhuang, < Music >, 25 song structure is concise and the double syntax leaves building on the basis of the translation of spectrum analysis, found that a variety of musical structure, a structure the first 4, two structure of the music for 15 songs, three structure of music includes 4 songs, according to the above statistics, we can see that the" Dunhuang music >P.3808 music to two structure. Ye Dong, Chen Ying two translation spectrum version to compare the five tone style Only a six tone of the 6 song, others are seven tone music, seven acoustic music and music in the majority, the figures listed above, we can roughly understand the < Dunhuang > Music macro structure and music form structure and distribution of simple, in the text, we will a detailed analysis of the internal structure of music in 25 pieces, divided attention generation techniques subject and phrase sentence, including the middle part, and the subsidiary structure reproduction Department of writing and the structure function.
In summary, this article will focus on the "Dunhuang music >P.3808 25 of the songs in the music language and material organization were analyzed and summarized. The unique artistic value of Dunhuang ancient music, it is for the promotion, inheritance of traditional music culture in China, the hope can cause the attention of scholars, more hope this paper can provide ideas for other scholars, as modern music creators in practice to provide a reference!

【学位授予单位】：西安音乐学院
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J632.33

【参考文献】