本文關(guān)鍵詞： 古琴 打譜 減字譜 指法 管平湖 姚丙炎 廣陵散 酒狂 碣石調(diào)·幽蘭　出處：《中國(guó)藝術(shù)研究院》2006年博士論文　論文類型：學(xué)位論文

【摘要】：古琴音樂(lè)的打譜既是一項(xiàng)以復(fù)原古曲為宗旨的琴學(xué)研究工作,同時(shí)又是帶有限定性的藝術(shù)創(chuàng)造活動(dòng)。打譜者依據(jù)傳承下來(lái)的古琴曲譜,憑借自身的彈奏經(jīng)驗(yàn)與藝術(shù)詮釋而將古譜再現(xiàn)、重建并賦予生命!打譜的過(guò)程,涉及到音樂(lè)史學(xué),版本學(xué)、文獻(xiàn)學(xué)、樂(lè)律學(xué)、歷史學(xué)、指法翻譯及琴譜考證等諸方面的問(wèn)題。20世紀(jì)50年代以來(lái),管平湖、吳景略、姚丙炎等前輩琴家在琴樂(lè)打譜方面進(jìn)行了大量艱苦的工作,為琴樂(lè)打譜積累了豐富的經(jīng)驗(yàn)。本文從以下幾個(gè)方面對(duì)琴樂(lè)打譜的相關(guān)問(wèn)題進(jìn)行探討和研究,全文分琴樂(lè)打譜理論梳理、琴樂(lè)打譜方法探析、前輩琴家打譜個(gè)案研究、古琴打譜實(shí)證分析四大部分。 第一部分通過(guò)考察琴樂(lè)打譜概念及其由來(lái),傳統(tǒng)古琴記譜法的歷史變遷,琴樂(lè)打譜的學(xué)術(shù)意義,近代以來(lái)琴樂(lè)打譜的實(shí)踐與演變,以期對(duì)古琴音樂(lè)打譜的相關(guān)理論問(wèn)題進(jìn)行一些學(xué)理層面的梳理與探討。 第二部分為琴樂(lè)打譜的方法探析。通過(guò)對(duì)打譜過(guò)程中琴譜版本的選擇與研究、琴曲內(nèi)容與相關(guān)人文背景之分析、譜字之�？薄⒐徘僦阜ㄗV字之解讀與詮釋、節(jié)奏的處理與安排、琴曲結(jié)構(gòu)布局與旋律發(fā)展手法之分析、彈奏與定譜七個(gè)部分的探討,以期對(duì)琴樂(lè)打譜的方法及相關(guān)問(wèn)題進(jìn)行分析、探索、歸納與總結(jié)。其中涉及文獻(xiàn)學(xué)、版本學(xué)、古譜學(xué)、古琴指法分類及唐宋元明古琴指法流變之考辨、古代琴曲的結(jié)構(gòu)模式及創(chuàng)作規(guī)律等問(wèn)題的研究。 第三部分為前輩琴家打譜個(gè)案研究。本節(jié)擇取在琴樂(lè)打譜方面卓有成就的管平湖、姚丙炎兩位前輩琴家,對(duì)其打譜的《廣陵散》、《酒狂》等琴曲的分析研究,探討其打譜活動(dòng)的方法和個(gè)性風(fēng)格,總結(jié)前輩琴家的打譜經(jīng)驗(yàn)及示范性意義。 第四部分為琴曲打譜的實(shí)例分析。本節(jié)擇取《碣石調(diào)·幽蘭》一曲,對(duì)其版本、樂(lè)曲內(nèi)容、指法處理、節(jié)奏安排等方面進(jìn)行探討,并通過(guò)不同琴家打譜的(《碣石調(diào)·幽蘭》的橫向比對(duì),以闡述古琴音樂(lè)打譜中的個(gè)性與風(fēng)格特征。 最后就建立琴樂(lè)打譜所應(yīng)遵循的學(xué)術(shù)規(guī)范以及琴樂(lè)打譜之本質(zhì)問(wèn)題,提出幾點(diǎn)思考與看法。 古琴音樂(lè)是人類音樂(lè)文明在旋律、曲目、技法、音樂(lè)思想方面達(dá)到最高水平的范例之一。琴曲的打譜將向人們展示出琳瑯滿目、豐富多彩的古代琴樂(lè)作品,為繼承、發(fā)展中國(guó)傳統(tǒng)音樂(lè)提供生動(dòng)的實(shí)例。本文通過(guò)對(duì)琴樂(lè)打譜的概念、意義、歷史、方法的探討與琴樂(lè)打譜個(gè)案與實(shí)證的分析,以總結(jié)前輩琴家的打譜經(jīng)驗(yàn),樹(shù)立琴樂(lè)打譜之學(xué)術(shù)規(guī)范與嚴(yán)謹(jǐn)學(xué)風(fēng),從而為今后開(kāi)展有體系的打譜,作一學(xué)理層面的鋪墊。本課題對(duì)于當(dāng)下古琴音樂(lè)遺產(chǎn)
[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.
【學(xué)位授予單位】：中國(guó)藝術(shù)研究院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2006
【分類號(hào)】：J632.31

【引證文獻(xiàn)】

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