当代古琴新作编排指法初探
发布时间：2018-10-17 10:47
【摘要】：古往今来,古琴演奏家从未停止过对记谱法进行思考与实践。这完美的追求随着历史的演变呈现出一些不同的表现阶段。从唐代至清代1850年间,乐谱只是以音位记载,即只记录具体的指法而并未直接体现出音高。在这种多样化与非直线的演变过程中,自1850年开始,旋律记谱法的趋势逐渐显现。而自清末民国开始,特别是到了 1956年,随着古琴进入音乐学院高等教育体系之后,古琴演奏与记谱法开始出现了主要的两个发展趋势。一,由偏向指法转变为偏向音高。二,由单声部的演奏形式,也就是独奏或合奏,发展到越来越形式丰富的多声部重奏。其中,这个"音高为主"的转变引出了指法编排的一些新挑战。这些挑战可以总结概括为三个方面:1,乐器自身的特点2,按音和泛音音域的使用情况3,新作的特点。本文即围绕记谱法的演变及所产生的挑战并给出挑战对应的若干思考和解决方法的尝试。首先将透过历史视角来阐述指法编排所逐渐形成的历史背景(第一篇)。接着将指明记谱法中所遇到的挑战,由此所体现出的指法编排中的一些考虑因素(第二篇)。最后本文将引出指法编排的一些思考和实践方法的尝试。(第三篇)而这一方法旨在通过三重叠加的步骤对二度创作的控制进行一个思考尝试。虽然具有主观性且理论尚不够完善,也不能替代指法编排的实践积累,但却希望能尝试为广大古琴学习者一个思考。
[Abstract]:Throughout the ages, Guqin players have never stopped thinking and practicing notation. As history evolves, this pursuit of perfection presents some different stages of expression. From the Tang Dynasty to the Qing Dynasty in 1850, the music score was recorded only by phoneme, that is to say, only the specific finger method was recorded without directly reflecting the pitch. In this process of diversification and nonlinearity, the trend of melodic notation has gradually appeared since 1850. Since the end of the Qing Dynasty and the Republic of China, especially in 1956, after Guqin entered the higher education system of the Conservatory of Music, Guqin performance and notation began to appear two main development trends. First, the shift from bias to pitch. Second, from monophonic performance, that is, solo or ensemble, to more and more rich multi-part recital. Among them, this "pitch-based" shift led to some new challenges of fingerprinting. These challenges can be summed up in three aspects: 1. The characteristics of the musical instrument itself, the use of the phonetic and overtone ranges, and the characteristics of the new work. This paper focuses on the evolution of the notation method and its challenges, and gives some thoughts and attempts to solve the challenges. First of all, the historical background of fingering arrangement will be explained from the historical perspective (the first part). The challenges encountered in the notation will then be identified, thus reflecting some considerations in the presentation of the notation (Chapter 2). Finally, this paper will lead to some thinking and practice methods of finger arrangement. The purpose of this method is to try to control the second creation by triple superposition. Although it is subjective and the theory is not perfect, it can not replace the accumulation of the practice of finger arrangement, but it hopes to try to think for the majority of Guqin learners.
【学位授予单位】：上海音乐学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J632.31
本文编号：2276413
[Abstract]:Throughout the ages, Guqin players have never stopped thinking and practicing notation. As history evolves, this pursuit of perfection presents some different stages of expression. From the Tang Dynasty to the Qing Dynasty in 1850, the music score was recorded only by phoneme, that is to say, only the specific finger method was recorded without directly reflecting the pitch. In this process of diversification and nonlinearity, the trend of melodic notation has gradually appeared since 1850. Since the end of the Qing Dynasty and the Republic of China, especially in 1956, after Guqin entered the higher education system of the Conservatory of Music, Guqin performance and notation began to appear two main development trends. First, the shift from bias to pitch. Second, from monophonic performance, that is, solo or ensemble, to more and more rich multi-part recital. Among them, this "pitch-based" shift led to some new challenges of fingerprinting. These challenges can be summed up in three aspects: 1. The characteristics of the musical instrument itself, the use of the phonetic and overtone ranges, and the characteristics of the new work. This paper focuses on the evolution of the notation method and its challenges, and gives some thoughts and attempts to solve the challenges. First of all, the historical background of fingering arrangement will be explained from the historical perspective (the first part). The challenges encountered in the notation will then be identified, thus reflecting some considerations in the presentation of the notation (Chapter 2). Finally, this paper will lead to some thinking and practice methods of finger arrangement. The purpose of this method is to try to control the second creation by triple superposition. Although it is subjective and the theory is not perfect, it can not replace the accumulation of the practice of finger arrangement, but it hopes to try to think for the majority of Guqin learners.
【学位授予单位】：上海音乐学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J632.31
【参考文献】
相关期刊论文 前1条
1 张子谦;龚一;;七弦琴谱的沿革及发展[J];音乐艺术;1980年03期
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