本文選題：琵琶 + 形制　； 參考：《溫州大學(xué)》2011年碩士論文

【摘要】：琵琶,作為中國傳統(tǒng)彈撥樂器,有著悠久的歷史。古代琵琶分為兩種:一種圓體直頸、四弦十二柱,是中原本土琵琶,被稱為“秦琵琶”或“秦漢子”;另一種則為由域外傳入的曲項(xiàng)梨形琵琶,包括四弦琵琶和五弦琵琶。中原本土琵琶發(fā)展到唐代,已經(jīng)成為了另一種樂器“阮咸”。而我們現(xiàn)代的六相二十四品琵琶,則是在域外傳入的曲項(xiàng)梨形琵琶的基礎(chǔ)上發(fā)展起來的。 本文研究的主要內(nèi)容是,域外琵琶入華后,形制的演變,即從唐代的四柱、到明清時(shí)期的四相十品、到現(xiàn)代的六相二十四品等等;樂調(diào)的變化,從蘇祗婆七調(diào),到琵琶八十四調(diào),到唐燕樂二十八調(diào);音律的使用,即從早期的五度相生律,到后來的平均律趨向,五度相生律印痕、純律遺留、四分之三音(明清老七品)意味等等;樂譜傳緒,最早有五代后唐長興四年的“敦煌琵琶譜”,其后則有《華氏琵琶譜》等等。 近現(xiàn)代以來,對(duì)于琵琶藝術(shù)的研究多偏重于古代琵琶的發(fā)展和演變,以及中國近現(xiàn)代琵琶主要流派、演奏家以及演奏技巧等,對(duì)琵琶音律的研究則關(guān)注不夠。本論文將采用文獻(xiàn)考索與田野調(diào)查來獲得研究之材料;以樂律學(xué)、音樂史學(xué)、樂器學(xué)等學(xué)科的方法及方法論進(jìn)行研究。從早期西亞琵琶的傳入,到中國近現(xiàn)代琵琶,觀照阮咸、征引古琴、參考日本唐傳琵琶以及福建南音琵琶等等,盡可能地以律、調(diào)、器、譜進(jìn)行綜考,目的是厘清近現(xiàn)代琵琶音律的基本脈絡(luò),能夠有利于中國琵琶藝術(shù)的發(fā)展。 全文首先對(duì)琵琶傳入中國的演變歷程進(jìn)行回顧,并且對(duì)古代蘇祗婆琵琶與唐琵琶律、調(diào)進(jìn)行分析,古代琵琶運(yùn)用的是五度相生律,唐“二十八調(diào)”、琵琶“八十四調(diào)”理論上的推算要大于音樂實(shí)踐。其次,觀照阮咸,指出中國近代四相十品琵琶、或四相十二品琵琶的“舊七品”具有“中立音”意味。通過對(duì)現(xiàn)代六相二十四品琵琶,以及福建南音琵琶各柱位音律的測(cè)量與分析,現(xiàn)代六相二十四品琵琶“第四相”、“第十品”,與福建南音琵琶的“第三相”為純律大三度(386音分);其它的相、品,則既有靠近五度相生律之半音(90音分),也有靠近十二平均律之半音(100音分),故筆者認(rèn)為,現(xiàn)代六相二十四品琵琶的音律,既有“十二平均律”的傾向,又有“五度相生律”的印痕,還有“純律”的遺留。其中第四相的純律大三度,亦有可能是受古琴十一徽之影響。最后,為了更進(jìn)一步佐證筆者對(duì)近、現(xiàn)代琵琶音律的測(cè)算與認(rèn)識(shí),以近代琵琶演奏指法符號(hào)與古琴演奏指法符號(hào)之比照,揭示古琴對(duì)近代琵琶之影響;以近、現(xiàn)代琵琶演奏的具體譜例,坐實(shí)近、現(xiàn)代琵琶之音律。并對(duì)現(xiàn)代琵琶演奏“變律”的技法,作出了具體的譜例舉證。
[Abstract]:Pipa, as a traditional Chinese plucked instrument, has a long history. There are two kinds of pipa in ancient times: one is straight neck with four strings and twelve columns, which is called "Qin pipa" or "Qin man", and the other is piriform pipa with four strings and five strings. Central Plains local pipa developed to Tang Dynasty, has become another kind of musical instrument, Ruan Xian. And our modern six-phase 24 pipa is developed on the basis of the foreign music item pear-shaped pipa. The main contents of this paper are the evolution of the form of the foreign pipa after its entry into China, that is, from the four pillars of the Tang Dynasty to the four phases of the Ming and Qing dynasties, to the modern six phases of 24, and so on. To the pipa 84 tone, to Tang Yan Yue 28 tune; the use of the rhythm, that is, from the early fifth degree law, to the later average law trend, the fifth degree law imprint mark, pure law, 3/4 tone (Ming and Qing Dynasty seven old products) meaning and so on; The first four years after Tang Changxing, Dunhuang pipa music, followed by Fahrenheit pipa spectrum and so on. Since modern times, the study of pipa art has focused on the development and evolution of ancient pipa, as well as the main schools, performers and performance techniques of Chinese modern pipa, but not enough attention has been paid to the study of the rhythm of pipa. In this paper, literature research and field investigation are used to obtain the research materials, and the methods and methodology of music law, music history, musical instrument science and so on are studied. From the introduction of the early West Asia pipa to the modern Chinese pipa, looking at Ruan Xian, introducing Guqin, referring to Japan's Tang Dynasty pipa and Fujian Nanyin pipa, and so on, conducting a comprehensive examination of the law, tune, instrument, and spectrum as far as possible. The purpose is to clarify the basic context of modern pipa rhythm, which can be beneficial to the development of Chinese pipa art. First, the paper reviews the evolution of pipa's introduction into China, and analyzes the tune of ancient Su's pipa and Tang's pipa. The ancient pipa is composed of five degrees of harmony, and the Tang Dynasty's "28 tune". The theoretical calculation of Pipa's 84 tune is greater than that of music practice. Secondly, looking at Ruan Xian, the author points out that the "old seven products" of the four phases and ten products of the pipa in modern China, or the four phases and twelve products of the pipa, have the meaning of "neutral tone". Through the measurement and analysis of modern six phase 24 pipa and Fujian Nanyin pipa, it is found that modern six phase 24 pipa is "the fourth phase", "the tenth product". The "third phase" of Fujian Nanyin pipa is a pure Rhythm 3 / 3 / 386, and the other phases and products are as follows: both the penetram of 90 and the penetrable of 100, which are close to the five-degree law, so the author thinks that the third phase of Fujian Nanyin pipa is composed of three degrees of pure Rhythm and a third degree of pure Rhyme. The rhythm of modern six phase 24 pipa has the tendency of "twelve average law", the imprint of "five degree law", and the legacy of "pure law". Among them, the fourth phase of pure law three degrees, may also be affected by the 11 Guqin Emblem. Finally, in order to further support the author's calculation and understanding of the recent and modern pipa rhythm, the comparison between the modern pipa playing finger symbol and the Guqin playing finger symbol reveals the influence of the ancient lute on the modern pipa. The modern pipa plays the concrete spectrum example, sits the solid near, the modern pipa rhythm. And to the modern pipa performance "change the law" the technique, has made the concrete spectrum example proof.
【學(xué)位授予單位】：溫州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：J632.33

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 林燕;泉州南音樂器制作及其音律現(xiàn)象之研究[D];福建師范大學(xué);2013年

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本文編號(hào)：2035789