《五知齋琴譜》四曲研究
發(fā)布時間：2018-07-23 14:51
【摘要】： 古琴音樂，是中國文化的重要組成部分，是中國音樂的代表。由于其歷史悠久，文獻豐富，相對保存完好，流傳千載，從未中斷，一直被學界認為是中國古代音樂的活化石。歷史上有些著名的音樂品種或樣式，由于種種原因今已失傳，籍著琴樂這一“從未中斷”的河流，可做不少珍貴的鉤沉、稽古工作。近代以來的琴學研究，在文獻的搜集上，取得了舉世矚目的成就，而對于琴學之某一方面的專題性研究，尚有很多空白。或者說，建立在文獻基礎上的琴學之諸多方面的理論總結(jié)，尚嫌不足。尤其是對于古琴音樂本身的規(guī)律性認識，目前還比較模糊，這與我們近百年來在琴學文獻整理方面所取得的巨大成就相比，是有一定距離的。基于此，筆者在導師吳釗先生、伍國棟先生的指導下，認為對琴曲本身進行研究，是琴學研究的基礎性工作，如果能夠在這方面取得些許成績，將有助于我們正確認識中國古代音樂風格演變的歷史；有助于我們了解古琴音樂與與古代人文生活的密切關(guān)系；進而為中國音樂史研究中所遇到的古樂形態(tài)方面的問題，提供一些可參考的資料。 為了勾勒古琴音樂的發(fā)展軌跡，進而初步得出有關(guān)琴曲風格演變歷史的規(guī)律性認識，本文以清代《五知齋琴譜》所收《墨子悲絲》、《漢宮秋月》、《瀟湘水云》、《胡笳十八拍》等四首琴曲為研究對象，全文共分：第一章緒論；第二章《五知齋琴譜》產(chǎn)生的歷史背景；第三章四首琴曲的音樂學分析；第四章從四首琴曲看明清琴樂的美學追求；第五章從四首琴曲看明清琴樂的藝術(shù)成就；第六章結(jié)論。 本文的主體為琴曲分析，有描述，有解釋，也有分析過程中的思考、概括出來的規(guī)律、提出的問題和得出的結(jié)論。除了對琴曲之淵源流變、文獻記載、背景資料所做的梳理，還將考察琴曲的具體指法、用音、句子、段落以及整體的結(jié)構(gòu)布局，悉心體會古人，，并參以當代有代表性琴家的演奏錄音和記譜。樂器形制發(fā)展的歷史和古琴特有的演奏方法，都會直接或間接地影響到古琴音樂的形態(tài)，如節(jié)奏特征、裝飾效果、音色變化等等。另外，琴曲形態(tài)與語言、音韻及文體的關(guān)系，與不同歷史時期的社會生活、藝術(shù)追求、文人好尚的關(guān)系，也在本文的研究視野中。 筆者希望通過論證，能夠?qū)徘僖魳吩谌缦聨追矫娅@得明晰的認識：作為中國傳統(tǒng)音樂的精華，古琴音樂是中國音樂美學趣味的集中體現(xiàn)；古琴音樂是中國音樂的主流；古琴音樂歷經(jīng)千年的發(fā)展演變，至明清時已呈深化和多元化發(fā)展之勢，直至今日之現(xiàn)代社會仍有不可替代的價值，是人類(更是中國人)精神生活的需要；當代中國音樂應很好地繼承這一筆豐富的文化遺產(chǎn)。
[Abstract]:Guqin music is an important part of Chinese culture and a representative of Chinese music. Because of its long history, abundant documents, relatively intact, spreading for thousands of years, never stopped, it has been regarded by scholars as a living fossil of ancient Chinese music. Some famous music varieties or styles in history have been lost because of various reasons. In modern times, the study of piano has made great achievements in the collection of literature, but there is still a lot of blank in the study of some aspects of piano science. In other words, the theoretical summary of many aspects on the basis of literature is not enough. In particular, the understanding of the regularity of Guqin music itself is still rather vague at present, which is far away from the great achievements we have made in the literature collation of Guqin in the last hundred years. Based on this, the author, under the guidance of his mentors, Mr. Wu Zhao and Mr. Wu Guodong, believes that the study of piano music itself is the basic work of the study of piano science, and if some achievements can be made in this respect, It will help us to correctly understand the history of the evolution of ancient Chinese music style, help us understand the close relationship between Guqin music and ancient human life, and further contribute to the problems of ancient music forms encountered in the study of Chinese music history. Provide some reference materials. In order to outline the development track of Guqin music, and then draw a preliminary understanding of the history of the evolution of the piano music style, In this paper, four piano songs, "Mozi sad silk", "Han palace autumn moon", "Xiaoxiang Shuiyun" and "Hu Jia 18 pas", which were collected in the Qing Dynasty "Wuzhi Zhai Qin", are taken as the research objects. The whole paper is divided into four parts: the first chapter is an introduction, the second chapter is the historical background of the emergence of Wuzhi Zhai piano. The third chapter is the musicology analysis of the four piano songs; the fourth chapter looks at the aesthetic pursuit of the Ming and Qing Qin music from the four piano songs; the fifth chapter looks at the artistic achievements of the Ming and Qing piano music from the four piano songs; the sixth chapter concludes. The main body of this paper is the analysis of piano music, including description, explanation, thinking in the process of analysis, the law of generalizing, the problems raised and the conclusions reached. In addition to combing the origin, documentary records, and background information of the piano music, it will also examine the specific fingering of the piano music, use the sound, sentences, paragraphs and the overall structure of the arrangement, and carefully understand the ancients. And to the contemporary representative pianist playing recordings and notes. The history of the development of musical instrument form and the unique playing method of Guqin will directly or indirectly affect the musical form of Guqin, such as rhythm, decorative effect, timbre change and so on. In addition, the relationship between the form of piano and language, phonology and style, social life in different historical periods, artistic pursuit and literati is also in the research field of this article. The author hopes to have a clear understanding of Guqin music in the following aspects: as the essence of Chinese traditional music, Guqin music is the concentrated embodiment of Chinese musical aesthetic interest, Guqin music is the mainstream of Chinese music, and Guqin music is the mainstream of Chinese music. Guqin music has undergone a thousand years of development and evolution, to the Ming and Qing dynasties has been deepening and diversified development trend, up to today's modern society still has irreplaceable value, is the human (but also the Chinese) spiritual life needs; Contemporary Chinese music should inherit this rich cultural heritage.
【學位授予單位】：中國藝術(shù)研究院
【學位級別】：博士
【學位授予年份】：2002
【分類號】：J609.2
本文編號：2139747
[Abstract]:Guqin music is an important part of Chinese culture and a representative of Chinese music. Because of its long history, abundant documents, relatively intact, spreading for thousands of years, never stopped, it has been regarded by scholars as a living fossil of ancient Chinese music. Some famous music varieties or styles in history have been lost because of various reasons. In modern times, the study of piano has made great achievements in the collection of literature, but there is still a lot of blank in the study of some aspects of piano science. In other words, the theoretical summary of many aspects on the basis of literature is not enough. In particular, the understanding of the regularity of Guqin music itself is still rather vague at present, which is far away from the great achievements we have made in the literature collation of Guqin in the last hundred years. Based on this, the author, under the guidance of his mentors, Mr. Wu Zhao and Mr. Wu Guodong, believes that the study of piano music itself is the basic work of the study of piano science, and if some achievements can be made in this respect, It will help us to correctly understand the history of the evolution of ancient Chinese music style, help us understand the close relationship between Guqin music and ancient human life, and further contribute to the problems of ancient music forms encountered in the study of Chinese music history. Provide some reference materials. In order to outline the development track of Guqin music, and then draw a preliminary understanding of the history of the evolution of the piano music style, In this paper, four piano songs, "Mozi sad silk", "Han palace autumn moon", "Xiaoxiang Shuiyun" and "Hu Jia 18 pas", which were collected in the Qing Dynasty "Wuzhi Zhai Qin", are taken as the research objects. The whole paper is divided into four parts: the first chapter is an introduction, the second chapter is the historical background of the emergence of Wuzhi Zhai piano. The third chapter is the musicology analysis of the four piano songs; the fourth chapter looks at the aesthetic pursuit of the Ming and Qing Qin music from the four piano songs; the fifth chapter looks at the artistic achievements of the Ming and Qing piano music from the four piano songs; the sixth chapter concludes. The main body of this paper is the analysis of piano music, including description, explanation, thinking in the process of analysis, the law of generalizing, the problems raised and the conclusions reached. In addition to combing the origin, documentary records, and background information of the piano music, it will also examine the specific fingering of the piano music, use the sound, sentences, paragraphs and the overall structure of the arrangement, and carefully understand the ancients. And to the contemporary representative pianist playing recordings and notes. The history of the development of musical instrument form and the unique playing method of Guqin will directly or indirectly affect the musical form of Guqin, such as rhythm, decorative effect, timbre change and so on. In addition, the relationship between the form of piano and language, phonology and style, social life in different historical periods, artistic pursuit and literati is also in the research field of this article. The author hopes to have a clear understanding of Guqin music in the following aspects: as the essence of Chinese traditional music, Guqin music is the concentrated embodiment of Chinese musical aesthetic interest, Guqin music is the mainstream of Chinese music, and Guqin music is the mainstream of Chinese music. Guqin music has undergone a thousand years of development and evolution, to the Ming and Qing dynasties has been deepening and diversified development trend, up to today's modern society still has irreplaceable value, is the human (but also the Chinese) spiritual life needs; Contemporary Chinese music should inherit this rich cultural heritage.
【學位授予單位】：中國藝術(shù)研究院
【學位級別】：博士
【學位授予年份】：2002
【分類號】：J609.2
【引證文獻】
相關(guān)博士學位論文 前3條
1 張曉娟;中國弦樂史研究六十年（1949-2009）[D];福建師范大學;2010年
2 李松蘭;穿越時空的古琴藝術(shù)[D];上海音樂學院;2011年
3 李小戈;廣陵琴派的文化生態(tài)研究[D];南京藝術(shù)學院;2008年
相關(guān)碩士學位論文 前3條
1 梁曉鐫;琴曲《瀟湘水云》流變初探[D];中央音樂學院;2011年
2 董文靜;論古琴右手指法的發(fā)展與變遷[D];武漢音樂學院;2008年
3 張卓;琴歌《胡笳十八拍》研究[D];中央音樂學院;2010年
本文編號：2139747
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