Please use this identifier to cite or link to this item:
|Other Titles:||The Relationship between the Physical Structure and Score for the Qin|
College of Music, NTNU
Reforming jianzipu（減字譜） (simplified character notation) for the Qin has been an issue of contention that has lasted many centuries. During the Ming and Qing Dynasties, in an attempt to solve some of the problems regarding the inadequacy of a clear pitched melody, some Qin players added to their jianzipu durational marks or phrase markings as gongche notation (工尺譜), in addition to other diacritical marks for clarification. In modern years, scholars have opted for staff notation that included a more simplified notation for finger technique, and this has totally changed the approach to scores of traditional Qin music. Along with these proposals, few commentators have discussed the actual physical structure of the Qin, which is related essentially to its original notation. Newly-reformed scores cannot adequately provide the details required to utilize these traditional techniques, and thus performers achieve little success despite much effort. Therefore, in addition to the responsibilities for communicating these details clearly, scores should provide a more basic approach that incorporates these performance issues from the older tradition. In order to mend the problems of the insufficiency for melodic sings in jianzipu, positional information should also be provided, and staff or numbered notation should be considered a secondary resource.
|Appears in Collections:||音樂研究|
Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.