本文選題：《龍翔操》　切入點(diǎn)：版本流變　出處：《天津音樂學(xué)院》2015年碩士論文

【摘要】：古琴音樂作為中國文化的代表，在三千年的歲月中不斷發(fā)展變遷。因其豐實(shí)的古籍資料，創(chuàng)造性的記譜方式，獨(dú)特的音樂語言被認(rèn)為是中國音樂的活化石。近年來的琴學(xué)研究在文獻(xiàn)搜索和原始記載方面取得令人矚目的成績，但是僅僅堆砌羅列舊有資料是不夠的，因?yàn)閹缀跛星偾鷱漠a(chǎn)生之初到現(xiàn)在我們所能看見的古譜記載在曲名、內(nèi)容、解題甚至文化意義上都已發(fā)生了巨大的變化，有的還衍生出了不同的節(jié)本、分支。但是目前對(duì)于特定琴曲的版本流變的研究相比之下還尚顯薄弱�；诖耍P者在導(dǎo)師李鳳云教授的指導(dǎo)下，，認(rèn)為從古譜入手可以清晰明確琴曲的變化歷程，同時(shí)在分析整合的過程當(dāng)中還能夠?qū)σ恍┠：虼嬗袪幾h的問題提供參考和證明。 本文以廣陵派代表曲目《龍翔操》為切入點(diǎn)，全文分為：緒論；第一章：琴曲《龍翔操》的版本流變；第二章：琴曲《龍翔操》的音樂學(xué)分析；第三章：琴曲《龍翔操》的藝術(shù)特征；結(jié)論。 本文的主體部分是與《龍翔操》相關(guān)的曲調(diào)分類和流變過程，同時(shí)對(duì)張子謙、劉少椿演奏版本與據(jù)本《蕉庵琴譜》之《龍翔操》三者之間做了精細(xì)比對(duì)。除此以外，對(duì)于琴曲本身的音樂學(xué)分析，張子謙、劉少椿不同的社會(huì)生活環(huán)境和性格對(duì)于兩人琴學(xué)態(tài)度、二度創(chuàng)作的影響也有所涉及。綜合而言，本文試圖從古籍變化和今人詮釋兩方面橫縱向全面闡釋《龍翔操》的深刻變化過程。 在梳理校對(duì)和考證的過程中，筆者對(duì)目前一些“約定成文”的說法提出了異議：1、琴曲三千，剔除相同曲名琴曲，還剩六百余首。2、川派代表曲目《秋水》與現(xiàn)代《龍翔操》版本為內(nèi)容相同節(jié)奏不同的琴曲。3、現(xiàn)代《龍翔操》版本的據(jù)本為《蕉庵琴譜》之《龍翔操》。
[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".
【學(xué)位授予單位】：天津音樂學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：J632.31

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本文編號(hào)：1670734