本文選題：敦煌樂(lè)譜　切入點(diǎn)：雙疊句法　出處：《西安音樂(lè)學(xué)院》2013年碩士論文

【摘要】：《敦煌樂(lè)譜》是二十世紀(jì)初在敦煌莫高窟藏經(jīng)洞發(fā)現(xiàn)的《長(zhǎng)興四年中興殿應(yīng)圣節(jié)講經(jīng)文》經(jīng)卷后面抄寫(xiě)的樂(lè)譜，其中編號(hào)P.3539的為二十個(gè)譜字；編號(hào)為P.3719的是一份僅存十個(gè)譜字的《浣溪沙》殘譜；而編號(hào)為P.3808的則為保存較為完整的二十五首樂(lè)曲琵琶譜，也是本文研究的主要對(duì)象。 文章通過(guò)對(duì)《敦煌樂(lè)譜》P.3808葉棟、陳應(yīng)時(shí)譯譜版本中音樂(lè)諸要素的研究，結(jié)合其他學(xué)者對(duì)這部古代曲譜的研究成果及解讀，對(duì)樂(lè)曲中的句讀劃分、旋律進(jìn)行、節(jié)奏節(jié)拍、速度力度、調(diào)式調(diào)性等音樂(lè)語(yǔ)言特征進(jìn)行探索，運(yùn)用葉棟提出的“雙疊句法”、陳應(yīng)時(shí)的“旋律重合”法、沙漢昆的“間插句排除法”以及李吉提《中國(guó)音樂(lè)結(jié)構(gòu)分析概論》書(shū)中對(duì)中國(guó)傳統(tǒng)音樂(lè)的分析方法等，啟迪筆者深入樂(lè)曲內(nèi)部對(duì)《敦煌樂(lè)譜》中二十五首樂(lè)曲文本進(jìn)行深入細(xì)致的分析研究。 具體研究包括以下兩個(gè)方面： （一）葉棟、陳應(yīng)時(shí)《敦煌樂(lè)譜》P.3808兩種譯譜版本的曲式結(jié)構(gòu)研究： 曲式結(jié)構(gòu)框架 “曲式僅僅是音樂(lè)結(jié)構(gòu)的一個(gè)方面，是音樂(lè)結(jié)構(gòu)定型化和模式化的產(chǎn)物1”，而中國(guó)傳統(tǒng)音樂(lè)由于和西方音樂(lè)的發(fā)展道路不同，并未能取得如西方共性寫(xiě)作時(shí)期統(tǒng)一、規(guī)范化的曲式分類(lèi)，這是由于多方面原因造成的，然而自由、多樣化的音樂(lè)卻恰如其分的彰顯著中國(guó)式的意蘊(yùn)——形散神不散，沒(méi)有固定模式結(jié)構(gòu)不等于沒(méi)有音樂(lè)結(jié)構(gòu)，在我國(guó)傳統(tǒng)音樂(lè)中，有些結(jié)構(gòu)模式化程度較高，可以概括出其曲式結(jié)構(gòu)形式，而有些結(jié)構(gòu)框架比較隨意，遇到這種情況，筆者認(rèn)為應(yīng)更多注重其微觀方面如音樂(lè)語(yǔ)言及其音樂(lè)表現(xiàn)手法等方面而非刻意要求其格式化的結(jié)果。所以需再次強(qiáng)調(diào)說(shuō)明，本文第二章葉棟譯譜版本由他自己歸納的曲式結(jié)構(gòu)雖以西方傳統(tǒng)曲式結(jié)構(gòu)形態(tài)進(jìn)行表現(xiàn)，其實(shí)質(zhì)只能說(shuō)是相當(dāng)或近似于西方傳統(tǒng)曲式結(jié)構(gòu)。 （二）《敦煌樂(lè)譜》P.3808的音樂(lè)語(yǔ)言研究： 1.兩種譯譜版本的音樂(lè)語(yǔ)言、體裁、風(fēng)格特征分析之比較 從葉棟、陳應(yīng)時(shí)兩種譯譜版本的25首樂(lè)曲內(nèi)部結(jié)構(gòu)入手展開(kāi)分析，初步由調(diào)式調(diào)性、節(jié)奏節(jié)拍、速度力度、旋律進(jìn)行、結(jié)構(gòu)以及各部分的寫(xiě)法等方面探索、比較《敦煌樂(lè)譜》P.3808兩種樂(lè)譜版本的異同以及音樂(lè)表現(xiàn)特征，歸納出主題的生成、素材的發(fā)展手法、以及樂(lè)思的呈示、發(fā)展、收束、和引子、連接、尾聲等附屬結(jié)構(gòu)音樂(lè)材料的組織形態(tài)特征。 （1）調(diào)式、調(diào)性及其表現(xiàn)力 據(jù)筆者分析統(tǒng)計(jì)，在《敦煌樂(lè)譜》P.3808中除了第10曲《又慢曲子》為五聲調(diào)式外，其余均為六聲和七聲調(diào)式,其中又以雅樂(lè)七聲調(diào)式樂(lè)曲占據(jù)多數(shù)。 古代敦煌由于地域及歷史原因民族眾多、文化多元，敦煌莫高窟又歷經(jīng)千年朝代更迭，抄寫(xiě)于五代時(shí)期公元933年之前的《敦煌樂(lè)譜》，特別是P.3808琵琶譜，無(wú)論在文化還是藝術(shù)史上都具極高的學(xué)術(shù)價(jià)值。 （2）節(jié)奏節(jié)拍及其表現(xiàn)力 節(jié)拍、節(jié)奏的變化多樣性，無(wú)疑豐富著音樂(lè)的表現(xiàn)力�！抖鼗蜆�(lè)譜》P.3808在節(jié)拍選擇上很有特點(diǎn)，從葉棟的譯譜版本來(lái)看，除了常用的2/4拍、3/4拍外，還較多使用4/4拍以及5/4，并在樂(lè)曲中頻繁使用變換節(jié)拍；從陳應(yīng)時(shí)的譯譜版本來(lái)看，節(jié)拍變換更是多種多樣，2/4、3/4、4/4、5/4、6/4拍都有涉及。我們將在第三章第二節(jié)著重對(duì)比兩種版本，在節(jié)拍上的變化位置、規(guī)律以及表現(xiàn)力進(jìn)行分析。 （3）旋律進(jìn)行特征及其表現(xiàn)力 通過(guò)對(duì)《敦煌樂(lè)譜》P.3808文本的分析發(fā)現(xiàn)其旋律所含特性音程并結(jié)合節(jié)奏、節(jié)拍的變換等要素共同影響著音樂(lè)風(fēng)格的形成，筆者從量化各類(lèi)音程結(jié)構(gòu)著手探尋其中特性音程的發(fā)展規(guī)律，并結(jié)合節(jié)奏特征探討旋律形態(tài)發(fā)展的規(guī)律。 （4）結(jié)構(gòu)內(nèi)部及其各部分寫(xiě)法 通過(guò)對(duì)《敦煌樂(lè)譜》P.3808譯譜版本的初步觀察，我們已能清楚地看到它的大致結(jié)構(gòu)和分組上的特點(diǎn)，無(wú)論哪種版本的譯譜，都有著千絲萬(wàn)縷的異同點(diǎn)，由于定弦不同等原因樂(lè)曲被分為三組，每一組樂(lè)曲的曲式結(jié)構(gòu)、調(diào)式等雖然不盡相同，但調(diào)性和樂(lè)曲終止時(shí)的掃弦卻基本保持著一致性，縱觀《敦煌樂(lè)譜》，，25首樂(lè)曲結(jié)構(gòu)精短，筆者以葉棟的雙疊句法為依據(jù)對(duì)其譯譜進(jìn)行分析，發(fā)現(xiàn)其中曲式結(jié)構(gòu)豐富多樣，一段體結(jié)構(gòu)的有4首，兩段體結(jié)構(gòu)的樂(lè)曲為15首，三段體結(jié)構(gòu)樂(lè)曲有4首，據(jù)以上統(tǒng)計(jì)，可以看出《敦煌樂(lè)譜》P.3808樂(lè)曲以?xún)啥误w結(jié)構(gòu)為主。將葉棟、陳應(yīng)時(shí)兩種譯譜版本進(jìn)行比較，發(fā)現(xiàn)其中五聲調(diào)式的只有一曲，六聲調(diào)式的有6曲，其他均為七聲調(diào)式的樂(lè)曲，而七聲樂(lè)曲中雅樂(lè)又占大多數(shù)，在以上羅列的數(shù)字中，我們可以大致了解《敦煌樂(lè)譜》宏觀的結(jié)構(gòu)以及簡(jiǎn)單的樂(lè)曲曲式結(jié)構(gòu)和分布情況，在正文中，我們將細(xì)致分析樂(lè)譜中25首樂(lè)曲的內(nèi)部結(jié)構(gòu)，關(guān)注主題的生成手法和樂(lè)句句讀的劃分、包括中間部、再現(xiàn)部以及附屬結(jié)構(gòu)的寫(xiě)法和結(jié)構(gòu)功能等。 綜上所述，本文將對(duì)《敦煌樂(lè)譜》P.3808的25首樂(lè)曲在音樂(lè)語(yǔ)言和素材組織等方面進(jìn)行具體分析和概括總結(jié)。敦煌古樂(lè)獨(dú)具藝術(shù)價(jià)值，研究它對(duì)于弘揚(yáng)、傳承我國(guó)傳統(tǒng)音樂(lè)文化意義重大，希望能夠引起學(xué)者們的關(guān)注，更希望此文能為其他學(xué)者提供思路、為現(xiàn)代音樂(lè)創(chuàng)作者在實(shí)踐中提供參考借鑒！
[Abstract]:< > Dunhuang music is found in Dunhuang at the Mogao Grottoes in early twentieth Century "Changxin four years should ZTE Temple Saint Festival jiangjingwen > scrolls back copy of the music, the number P.3539 twenty spectrum word; number P.3719 is a spectrum of only ten words" huanxisha "and the number of residual spectrum; P.3808 is a more complete preservation of the pipa music spectrum is twenty-five, the main object of this article.
Based on the "Dunhuang music >P.3808 leaves, Chen Yingshi translated versions of the music spectrum elements, combined with the research results of other scholars and interpretation of this ancient music, the music melody, punctuation division, rhythm, speed, intensity, explore tonality and other musical language features, using the proposed building leaf the" double syntax ", Chen Ying's" Melody coincidence "method, Shahankun" inserted between the sentence of elimination "and Li Ji" Chinese music structure analysis > Book of Chinese traditional music analysis method, the author deeply inspired music inside the in-depth and detailed analysis on "Dunhuang music" twenty-five pieces of text.
The specific research includes the following two aspects:
(1) a study of the musical structure of the two versions of the Dunhuang music version of the Dunhuang music >P.3808, Chen Ying.
Structural frame
The form is only one aspect of the structure of music, music is a product of structured and modularized 1 ", and development of traditional music and western music China due to different, and failed to achieve such as the Western common writing period unified specification form classification, it is caused by many reasons, however free, but a variety of musical shows, to a proper extent casual God meaning China type, there is no fixed pattern structure is not equal to no music structure in Chinese traditional music, some structure degree is high, can be summed up in its form structure form, structure and some casual, encounter this kind of situation, I think we should pay more attention on the micro aspects such as music language and music performance skills rather than deliberate the formatted results. So again emphasized that the second chapter of Ye Dong The version of the translated version is represented by his own musical form, though it is expressed in the western traditional music form. Its quality can only be said to be equivalent to or similar to the western traditional music structure.
(two) < music language study of Dunhuang music score >P.3808:
1. comparison of two versions of musical language, genre and style
From Ye Dong, Chen Ying two translation versions of the spectrum of 25 songs with internal structure analysis, preliminary by tonality, rhythm, rhythm, speed and intensity, explore the structure as well as part of the writing and other aspects, comparison of < Dunhuang >P.3808 two versions of the music and music with different features, summed up the theme the generation, development of material technique, shows, and a thought of music development, and introduction, connection, promotion, organization structure and other ancillary features end music materials.
(1) regulation, tonality and its expressiveness
According to the statistics, in Dunhuang in addition to tenth >P.3808 < music song and slow tune > five tone, the rest are six times and seven tone, the seven tone music music occupy the majority.
Ancient Dunhuang due to historical reasons and many national and regional, cultural diversity, and the Mogao Grottoes in Dunhuang after the Millennium dynasties, copied to the Five Dynasties period before A.D. 933 "Dunhuang music", especially P.3808 Pipa spectrum have high, both in culture and art in the history of academic value.
(2) rhythm rhythm and its expressive force
Beats, rhythm changes in diversity, undoubtedly enrich the expressive force of the music. Dunhuang music >P.3808 has a characteristic in the rhythm of choice, from the leaf, translation spectrum version, in addition to the commonly used 2/4 film, 3/4 film, 4/4 film and 5/4 is widely used in the music, and the frequent use of the change of rhythm; from Chen Ying's translation version of the beat spectrum, transform is more diverse, 2/4,3/4,4/4,5/4,6/4 are involved. We will be in the third chapter second section focuses on the comparison of the two versions, change of position on the beat, analyze the regularity and performance.
(3) the characteristics and expressiveness of melodies
Through the analysis of the >P.3808 score < Dunhuang text found its melody with characteristic interval and combined with the rhythm, the rhythm of transformation factors affect the formation of music style, the author start from the quantitative structure of various kinds of intervals which explore the development characteristics of the interval, and to explore the law of the development of the form of melody rhythm features.
(4) the interior of the structure and its various parts
Through the preliminary observation of the "Dunhuang music >P.3808 version of the spectrum, we can clearly see the characteristics of its general structure and grouping of either version of the translation spectrum, are inextricably similarities and differences, because the music has different reasons were divided into three groups, each group of music musical structure the melody, although not the same, but the termination of tonality and music sweeping strings is kept consistent throughout Dunhuang, < Music >, 25 song structure is concise and the double syntax leaves building on the basis of the translation of spectrum analysis, found that a variety of musical structure, a structure the first 4, two structure of the music for 15 songs, three structure of music includes 4 songs, according to the above statistics, we can see that the" Dunhuang music >P.3808 music to two structure. Ye Dong, Chen Ying two translation spectrum version to compare the five tone style Only a six tone of the 6 song, others are seven tone music, seven acoustic music and music in the majority, the figures listed above, we can roughly understand the < Dunhuang > Music macro structure and music form structure and distribution of simple, in the text, we will a detailed analysis of the internal structure of music in 25 pieces, divided attention generation techniques subject and phrase sentence, including the middle part, and the subsidiary structure reproduction Department of writing and the structure function.
In summary, this article will focus on the "Dunhuang music >P.3808 25 of the songs in the music language and material organization were analyzed and summarized. The unique artistic value of Dunhuang ancient music, it is for the promotion, inheritance of traditional music culture in China, the hope can cause the attention of scholars, more hope this paper can provide ideas for other scholars, as modern music creators in practice to provide a reference!

【學(xué)位授予單位】：西安音樂(lè)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：J632.33

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