本文選題：合歡令 + 胡琴�。� 參考：《中央音樂學(xué)院》2014年碩士論文

【摘要】：20世紀(jì)50年代王憲臣先生所錄制的胡琴古曲《合歡令》是現(xiàn)今所存的年代最早的弦索十三套胡琴曲的錄音資料。王憲臣先生是清代恭王府所供養(yǎng)的門先,藝術(shù)造就可見一斑,這份錄音資料對(duì)研究中國(guó)傳統(tǒng)胡琴藝術(shù)的價(jià)值是不言而喻的。 本文以《弦索十三套》胡琴古曲《合歡令》為研究對(duì)象,以王憲臣先生錄制的這份胡琴曲《合歡令》的資料為依據(jù),并與《弦索備考》中《合歡令》的工尺譜(即《合歡令》骨干譜)記載作對(duì)比,展開對(duì)此曲的研究。從樂曲的流傳、現(xiàn)存資料、音樂本體和演奏技法的等方面作具體分析。 經(jīng)過分析研究后認(rèn)為,20世紀(jì)50年代王憲臣先生所錄制的胡琴古曲《合歡令》與《弦索備考》中所記載的胡琴古曲《合歡令》一曲屬于同源�！断宜鱾淇肌分杏泻偾逗蠚g令》的曲名記載卻不見胡琴樂譜的記載,琵琶和三弦亦是如此,即只有工尺譜和箏譜的記載,這給我們留下了疑問和缺憾。所幸我們現(xiàn)存有王憲臣先生的錄音資料,彌補(bǔ)了這塊空白。我通過對(duì)《合歡令》的工尺譜記載與王憲臣先生錄音資料以及對(duì)《合歡令》的音樂本體和演奏技法所進(jìn)行的分析與比較研究,希望從中發(fā)現(xiàn)傳統(tǒng)音樂的藝術(shù)規(guī)律與精神內(nèi)涵。但二者的調(diào)高尚有出入,仍有待進(jìn)一步的發(fā)現(xiàn)與研究。 《弦索十三套》胡琴古曲《合歡令》的研究對(duì)胡琴藝術(shù)的歷史無疑也是部分的填補(bǔ)。希望隨著對(duì)本曲的研究和實(shí)踐的不斷展開,可以使我們對(duì)清代胡琴藝術(shù)有更多的了解,對(duì)清代文人音樂的傳承與傳播有更多的認(rèn)知。
[Abstract]:Hu Qin's ancient music, Ala Huan Ling, recorded by Mr. Wang Xianchen in the 1950s is the earliest recording material of thirteen sets of Hu Qin songs in the modern time. Mr. Wang Xianchen is the door provided by Prince Gong鈥檚 Mansion in the Qing Dynasty, and the art can be seen. The value of this recording is self-evident to the study of Chinese traditional Hu Qin art. This paper takes the 13 sets of "string" as the research object, and based on the data recorded by Mr. Wang Xian-chen, the Hu Qin qu "Ala Huan Ling", is used as the research object, which is based on the data of the Hu Qin qu "Ala Huan order" recorded by Mr. Wang Xian-chen. And compared with the work scale spectrum (i.e. the backbone spectrum) in the preparation of string rope, the study of this song was carried out. From the music circulation, existing materials, music and playing techniques and other aspects of the specific analysis. Through the analysis and study, it is considered that the Hu Qin ancient music recorded by Mr. Wang Xianchen in the 1950s belongs to the same origin as the Hu Qin ancient song "Ala Huan order", which is recorded in the "Strings preparation for examination", and there is Hu Qin in the "Xianzao Preparedness". The title of the song "Ala order" is not recorded in the music score of Hu Qin. The pipa and the three strings are the same, that is, only the Gongqi spectrum and the Zheng spectrum record, which left us with questions and regrets. Fortunately, we now have Mr Wang Xianchen's recorded materials, to fill this gap. I hope to find out the artistic law and spiritual connotation of traditional music through the analysis and comparative study of the records of the work scale spectrum and the recording materials of Mr. Wang Xianchen, as well as the music Noumenon and the performing techniques of the Albune order. However, there are some differences between them, which still need to be further discovered and studied. The study of the ancient songs of Hu Qin, the Albizan order, is undoubtedly partly filled up in the history of Hu Qin's art. It is hoped that with the continuous development of the research and practice of this song, we can have a better understanding of the art of Hu Qin in the Qing Dynasty and more cognition of the inheritance and dissemination of the music of the literati in the Qing Dynasty.
【學(xué)位授予單位】：中央音樂學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J632.39

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本文編號(hào)：2053185