陝西地方音樂運用於琵琶樂曲之探析——以曲文軍琵琶作品為例
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2015
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融入地方音樂元素，以此為基礎進行創作的琵琶樂曲，或是直接移植自地方音樂的琵琶樂曲，在近幾年中已逐漸奠基，並漸漸可見其非凡成就。在眾多琵琶樂曲中，此類使用地方音樂為素材進行創作的琵琶樂曲，已逐步集合成為一大類，且此類樂曲特殊的表現風格，也漸漸受到演奏者及聽眾所青睞。
被運用於琵琶樂曲創作的眾多地方音樂素材之中，陝西地方音樂是其中常用的素材之一。陝西省是華夏文明的重要發祥地，時代的發展和變遷使得此處累積了豐厚的音樂文化資產，例如西安鼓樂、民間歌曲、戲曲音樂等。而將陝西地方音樂之特點，發展於琵琶器樂獨奏上，是對於琵琶演奏技巧、韻味及音響效果等方面全新的嘗試。本研究針對曲文軍運用陝西地方音樂為素材所創作的四首琵琶樂曲——《秦川抒懷》、《蕭索秋兮》、《遐方怨》、《秦賦》進行整理與分析，希望能夠使讀者對於此類琵琶樂曲有更深一層的認識。
本文之架構共分為六章：第一章為緒論，說明引發筆者進行此一研究的動機，以及筆者所設定的研究範圍和所採用的研究方法；第二章為陝西地方音樂概述，此處針對陝西地方音樂溯源與發展、音階與調式特徵、藝術特色等方面進行探究；第三章為陝西地方音樂運用於琵琶曲，先追溯近現代琵琶作品之演變歷程，進而探討陝西地方音樂運用於琵琶樂曲之起源及其發展概況，並列舉使用陝西地方音樂為素材的琵琶曲目；第四章為曲文軍音樂背景及創作風格理念，探究曲文軍於琵琶樂曲創作上的歷程，詳盡解說各時期的創作特點、風格特色，並探討其創作素材的取源，對於琵琶演奏技法的改良與創新，以及創作理念與美學觀；第五章為曲文軍作品分析，此部分對於曲文軍所創作之陝西地方音樂風格琵琶樂曲進行詳細探析，為本文研究重點；第六章為結論，將本文各章的重點再次強調，對於本文的研究結果進行統整，並論述本文之研究成果與意義。
Pipa compositions based on local musical elements, or taking direction from local music, have been gradually laying a foundation for contemporary pipa music in recent years. We can see these remarkable achievements appearing gradually. In many pipa compositions, compositional materials comprised of local musical elements have gradually been integrated into a larger type. This special music style is gradually becoming appreciated by both performers and listeners. The localized music of Shaanxi has become a common musical element of many pipa compositions. Shaanxi province is considered one of the cradles of Chinese civilization. Developments and changes of over the course of many eras in Shaanxi have led to the accumulation of a wealth of musical cultural assets, including Xi'an drum music, folk songs, Chinese opera music, and many other musical styles and genres. The development of the use of Shaanxi local music elements in pipa solo music is a more contemporary attempt to enrich pipa techniques, timbres, and sound effects. It is the hope of the author that this study’s organization and analysis of pipa compositions using Shaanxi local musical elements, specifically the works of Qu, Wen-Jun—“Train of Thoughts,” “A Bleak Autumn,” “Resentments from Afar,” “Qin Fu”—can bring about a broader understanding of pipa music. This study divided into six chapters: The first chapter provides an introduction, including research motivation, range, and method. The second chapter gives a detailed introduction to Shaanxi local music, detailing the music’s origins and development, as well as the key features of scale and mode and aesthetic considerations. The third chapter describes Shaanxi local music in the context of pipa music. Here the aim is to trace the evolution of modern pipa compositions, to discover how Shaanxi local music came to be used in pipa music, and to list those pipa compositions using Shaanxi local music as a primary element. The fourth chapter discusses the musical background and creative style of Qu, Wen-Jun. This chapter will explore his creative process in creating pipa compositions and explain each of his style periods. The research will then explore the sources of creative elements, pipa performing techniques, improvements, and innovation, and the creative concept and aesthetics of Qu, Wen-Jun. The fifth chapter is an analysis of Qu, Wen-Jun's pipa compositions and provides a detailed introduction of Qu, Wen-Jun's Shaanxi local music-styled pipa compositions, being the focus of the study. The sixth chapter concludes the study, integrating results, detailing salient points from each chapter, and outlining the achievements and significance of the study.
Pipa compositions based on local musical elements, or taking direction from local music, have been gradually laying a foundation for contemporary pipa music in recent years. We can see these remarkable achievements appearing gradually. In many pipa compositions, compositional materials comprised of local musical elements have gradually been integrated into a larger type. This special music style is gradually becoming appreciated by both performers and listeners. The localized music of Shaanxi has become a common musical element of many pipa compositions. Shaanxi province is considered one of the cradles of Chinese civilization. Developments and changes of over the course of many eras in Shaanxi have led to the accumulation of a wealth of musical cultural assets, including Xi'an drum music, folk songs, Chinese opera music, and many other musical styles and genres. The development of the use of Shaanxi local music elements in pipa solo music is a more contemporary attempt to enrich pipa techniques, timbres, and sound effects. It is the hope of the author that this study’s organization and analysis of pipa compositions using Shaanxi local musical elements, specifically the works of Qu, Wen-Jun—“Train of Thoughts,” “A Bleak Autumn,” “Resentments from Afar,” “Qin Fu”—can bring about a broader understanding of pipa music. This study divided into six chapters: The first chapter provides an introduction, including research motivation, range, and method. The second chapter gives a detailed introduction to Shaanxi local music, detailing the music’s origins and development, as well as the key features of scale and mode and aesthetic considerations. The third chapter describes Shaanxi local music in the context of pipa music. Here the aim is to trace the evolution of modern pipa compositions, to discover how Shaanxi local music came to be used in pipa music, and to list those pipa compositions using Shaanxi local music as a primary element. The fourth chapter discusses the musical background and creative style of Qu, Wen-Jun. This chapter will explore his creative process in creating pipa compositions and explain each of his style periods. The research will then explore the sources of creative elements, pipa performing techniques, improvements, and innovation, and the creative concept and aesthetics of Qu, Wen-Jun. The fifth chapter is an analysis of Qu, Wen-Jun's pipa compositions and provides a detailed introduction of Qu, Wen-Jun's Shaanxi local music-styled pipa compositions, being the focus of the study. The sixth chapter concludes the study, integrating results, detailing salient points from each chapter, and outlining the achievements and significance of the study.
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琵琶, 曲文軍, 陝西地方音樂, 秦腔, 秦川抒懷, 蕭索秋兮, 遐方怨, 秦賦, 長安樂派, Pipa, Qu, Wen-Jun, Shaanxi Local Music, Qinqiang, Train of Thoughts, A Bleak Autumn, Resentments from Afar, Qin Fu, Chang'an Music School