琴曲《龙翔操》的版本流变和艺术特征

发布时间：2018-03-27 08:17

本文选题：《龙翔操》　切入点：版本流变　出处：《天津音乐学院》2015年硕士论文

【摘要】：古琴音乐作为中国文化的代表，在三千年的岁月中不断发展变迁。因其丰实的古籍资料，创造性的记谱方式，独特的音乐语言被认为是中国音乐的活化石。近年来的琴学研究在文献搜索和原始记载方面取得令人瞩目的成绩，但是仅仅堆砌罗列旧有资料是不够的，因为几乎所有琴曲从产生之初到现在我们所能看见的古谱记载在曲名、内容、解题甚至文化意义上都已发生了巨大的变化，有的还衍生出了不同的节本、分支。但是目前对于特定琴曲的版本流变的研究相比之下还尚显薄弱。基于此，笔者在导师李凤云教授的指导下，，认为从古谱入手可以清晰明确琴曲的变化历程，同时在分析整合的过程当中还能够对一些模糊或存有争议的问题提供参考和证明。本文以广陵派代表曲目《龙翔操》为切入点，全文分为：绪论；第一章：琴曲《龙翔操》的版本流变；第二章：琴曲《龙翔操》的音乐学分析；第三章：琴曲《龙翔操》的艺术特征；结论。本文的主体部分是与《龙翔操》相关的曲调分类和流变过程，同时对张子谦、刘少椿演奏版本与据本《蕉庵琴谱》之《龙翔操》三者之间做了精细比对。除此以外，对于琴曲本身的音乐学分析，张子谦、刘少椿不同的社会生活环境和性格对于两人琴学态度、二度创作的影响也有所涉及。综合而言，本文试图从古籍变化和今人诠释两方面横纵向全面阐释《龙翔操》的深刻变化过程。在梳理校对和考证的过程中，笔者对目前一些“约定成文”的说法提出了异议：1、琴曲三千，剔除相同曲名琴曲，还剩六百余首。2、川派代表曲目《秋水》与现代《龙翔操》版本为内容相同节奏不同的琴曲。3、现代《龙翔操》版本的据本为《蕉庵琴谱》之《龙翔操》。
[Abstract]:Guqin music, as a representative of Chinese culture, has been developing and changing in three thousand years. The unique musical language is considered to be a living fossil of Chinese music. In recent years, piano research has made remarkable achievements in literature search and original records, but it is not enough to pile up old materials. Because almost all the ancient music that we can see from the beginning to the present have undergone tremendous changes in the title, content, problem solving and even cultural significance, some of which have resulted in different abridges. Branch. But at present, the research on the evolution of the version of a particular piano song is still weak. Based on this, the author, under the guidance of Professor Li Fengyun, my mentor, believes that starting from the ancient music, we can clearly clarify the course of the change of the piano music. At the same time, it can provide reference and proof for some fuzzy or controversial problems in the process of analysis and integration. This paper is based on the representative song of Guangling School, Longxiang Gymnastics, which is divided into three parts: introduction, chapter one: the evolution of the version of the piano song, the second chapter: the musicological analysis of the piano song "LongxiangCao", the second chapter: the musicological analysis of the piano song "Longxiang Gymnastics". The third chapter: the artistic characteristics of the piano song Longxiang; conclusion. The main part of this paper is the classification and rheological process of tunes related to Longxiangcao. At the same time, it makes a fine comparison between Zhang Ziqian, Liu Shaochun's performance version and "Longxiangcao" according to this "Jiaoan instrument". In addition, As for the musicological analysis of the piano music itself, Zhang Ziqian and Liu Shao-chun 's different social living environments and personalities also have a bearing on their attitude and second creation of the piano. To sum up, This paper attempts to comprehensively explain the profound changing process of Longxiang Cao from two aspects: the changes of ancient books and the interpretation of modern people. In the process of combing the proofreading and textual research, the author raised objections to some of the current "agreed writing" statements: 1: 1, 3, 000, and eliminated the same musical title. There are more than 600 pieces. The Chuan School's representative song "Autumn Water" is different from the modern "Longxiang" version in the same rhythm. The modern version of "Longxiang Gymnastics" is originally "Longxiang Gymnastics".
【学位授予单位】：天津音乐学院
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：J632.31

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