【摘要】：古往今來,古琴演奏家從未停止過對記譜法進行思考與實踐。這完美的追求隨著歷史的演變呈現(xiàn)出一些不同的表現(xiàn)階段。從唐代至清代1850年間,樂譜只是以音位記載,即只記錄具體的指法而并未直接體現(xiàn)出音高。在這種多樣化與非直線的演變過程中,自1850年開始,旋律記譜法的趨勢逐漸顯現(xiàn)。而自清末民國開始,特別是到了 1956年,隨著古琴進入音樂學(xué)院高等教育體系之后,古琴演奏與記譜法開始出現(xiàn)了主要的兩個發(fā)展趨勢。一,由偏向指法轉(zhuǎn)變?yōu)槠蛞舾摺６?由單聲部的演奏形式,也就是獨奏或合奏,發(fā)展到越來越形式豐富的多聲部重奏。其中,這個"音高為主"的轉(zhuǎn)變引出了指法編排的一些新挑戰(zhàn)。這些挑戰(zhàn)可以總結(jié)概括為三個方面:1,樂器自身的特點2,按音和泛音音域的使用情況3,新作的特點。本文即圍繞記譜法的演變及所產(chǎn)生的挑戰(zhàn)并給出挑戰(zhàn)對應(yīng)的若干思考和解決方法的嘗試。首先將透過歷史視角來闡述指法編排所逐漸形成的歷史背景(第一篇)。接著將指明記譜法中所遇到的挑戰(zhàn),由此所體現(xiàn)出的指法編排中的一些考慮因素(第二篇)。最后本文將引出指法編排的一些思考和實踐方法的嘗試。(第三篇)而這一方法旨在通過三重疊加的步驟對二度創(chuàng)作的控制進行一個思考嘗試。雖然具有主觀性且理論尚不夠完善,也不能替代指法編排的實踐積累,但卻希望能嘗試為廣大古琴學(xué)習(xí)者一個思考。
[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.
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J632.31

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本文編號：2276413