明清琵琶樂曲：樂譜與詮釋之間關係之研究

Abstract

琵琶音樂具豐富的內容，明清琵琶樂曲是其中重要的組成，為以工尺譜記錄的琵琶譜，其特點為簡約式記譜，是琵琶音樂的重要內容，今多流通以阿拉伯數字譜與五線譜，。譜式改變影響習樂方式，也弱化彈奏樂曲的能力，即建構在骨幹譜的活性詮釋。本研究從琵琶工尺譜的再整理與解讀開始，透過研究明清琵琶樂曲的結構、旋律發展與演奏對照 工尺譜與當代詮釋，並對照以代表性當代音樂家的演奏錄音，來釐清音樂內容之可變與不可變，探討樂譜與詮釋之間的關係，進而試圖找出明清琵琶音樂的邏輯或規則。 全文分為五章，第一章「明清傳統琵琶譜本之內容」進行補充與梳理琵琶明清譜本，討論譜本內容於記寫上的異同，並梳理明清琵琶演奏法與其指涉內容之改變；第二章「明清傳統琵琶樂曲之體裁與內容」分節討論明清琵琶曲的類別與構成，為本文重要的步驟；第三、四章以「明清琵琶樂曲之樂譜衍變與詮釋內容」立基於前兩章，分別討論琵琶小曲、琵琶大曲的骨幹譜與演奏（潤飾）譜，揀選具有代表性、呈現有較完整之資料與演奏錄音來進行分析，為本研究之主體；第五章「詮釋的規律與習慣」試圖歸納明清琵琶樂曲中可能具有的詮釋模式、規則與語彙之使用。最後為全文結論。

The thesis on Ming-Qing pipa scores aims to discuss the relationship between Ming-Qing pipa score and music interpretation. Ming-Qing pipa scores, written in Gong-Che notation (GCN), are the earliest written records of Pipa score and are the essential contents for pipa music with a sketchy and simple nature. Being transcribed for practical use today by either numbered notation or standard western notation, Ming-Qing pipa repertories are presented with finer details of melody and technique now, no longer a skeletal outline. The change of notation has influenced the way of learning pipa music and weakened the abilities to embellish impromptu. Through comparing Ming-Qing pipa pieces in both GCN and modern performance version with audio recordings by representative musicians in the 21 century, the thesis works on exploring the changeability and immutability in pipa Gong-Che score and further tries to sum up rules, conventions and possible conventional musical languages hid under the surface variations. Five chapters consist of the thesis. Chapter one dealt with the content of Ming-Qing pipa score in aspects of data reorganization and supplement, the similarities and differences among these scores, and Ming-Qing performance skills; chapter two discussed the structure, form, and category of Ming-Qing pipa music in different sections; chapter three and four put the emphasis on analyzing Ming-Qing pipa score in aspects of structure, melody and comparisons among the Ming-Qing and modern performance versions and representative audio recordings from pipa xiao qu, tao qu to da qu to identify the surface variations added to these pieces; based on the former research efforts, chapter five tried to sum up rules and conventions while interpreting pipa Gong Che score. The last past is the conclusion.