琵琶指法運用與音樂關係之研究

Abstract

琵琶音樂最大的特色為指法於音樂中的運用，指法運用受樂曲類型、題材影響。琵琶今日所用的指法，在明清以漢字減字符號記寫，至民初改用簡化符號演變而來。本論文即梳理從明清至今琵琶指法符號的演變、續用情況與改變後之影響。探究傳統樂曲中，文、武曲在不同派別各家指法運用的代表性與獨特性。從現代創作樂曲中指法使用情況，觀察出作曲者的師承影響與個人風格、體現出音樂環境的變遷與審美思維的改變。琵琶指法自身帶有不同的聲響特性，筆者以此為依據，建構出「琵琶指法運用分析方式」，依照分析步驟分別為：指法、聲用、韻用、曲況、風格。「指法」為曲中各種指法使用情況，「聲用」與「韻用」為樂曲中指法分析角度，分別以「點」、「線」、「虛」、「實」、「輕」、「重」、「韻」七種現象歸納，得出該曲之指法運用特色：「曲況」，最後歸納出各家之整體風格。此分析方式能有效掌握關鍵指法運用，具體提出傳統中各家之風範，也能檢驗出現代樂曲指法運用之深度。分析對象以早期工尺譜至今非工尺譜中詳盡的指法符號，樂曲指法分析以民初後受西方音樂影響，將實際指法運用情況詳記於譜中的「演奏譜」為採用分析對象。第一章提出指法於中國音樂器樂表現之重要性，將「指法」明確定義，回顧當代琵琶研究現況，其中關於琵琶指法研究文獻分成從當代學者及琵琶家兩種觀點進行探討。第二章探討1762年至今琵琶工尺譜和非工尺譜中指法的記載與演變，並對指法提出新的分類方式輔以之後的分析。第三章建構琵琶指法運用分析法，對傳統文、武曲分別各挑一首樂曲，各以三種版本進行分析，論述指法運用方式不同而產生不同風格之關鍵原因。第四章與第五章是以筆者建構的分析方式，對1950年前、後琵琶家創作的樂曲進行指法運用分析。第六章則是探討近現代作曲家創作之琵琶樂曲指法運用，再將傳統、現代樂曲類型與指法運用關係進行統整歸納，並分析1950年後大陸與臺灣琵琶作品指法運用受音樂環境變化之影響而有不同的發展。第七章結論為反思琵琶指法符號的改變所帶來的影響，及近代琵琶創作樂曲中指法運用所面臨的挑戰與困境。The most outstanding characteristic of pipa music is its utilization of fingering techniques. The application of these techniques is influenced by the music’s compositional type and its themes. The pipa fingering techniques currently in use were recorded using Jianzi notation (Chinese characters with reduced strokes) during the Ming and Qing dynasties; this format shifted to simplified notation shortly after the founding of the Republic of China. This paper outlines the evolution of pipa fingering notation from the Ming and Qing dynasties until the present, its continued use, and impacts following the changes. It investigates the unique and representative aspects of various schools’ fingering techniques as applied to traditional civil and marital style compositions, then observes the fingering techniques used in modern musical compositions to determine the influence of classical teachers on contemporary composers and how the composers’ personal styles reflect changes in the musical environment and aesthetic philosophies.The pipa fingering techniques themselves engender different sound properties, which the author of this paper used as a basis for developing a “method for analyzing fingering techniques of pipa”. This step-by-step analysis distinguishes fingering technique, sound producing application, sliding resonance application, fingering sonic-stylistic of effects, and style. “Fingering” refers to the various fingering techniques used within a composition. “Use of tone” and “use of inflection” are angles for analyzing the aforementioned fingering techniques and summarizing seven separate sound phenomenon: point, line, emptiness, fullness, light, heavy, and inflection, thereby determining the composition’s style or “compositional scenario”. This analytical method effectively grasps the key fingering techniques to firmly identify the mannerisms of each traditional school and test the depth of technique application in modern compositions. The Gongche notation from the early days of pipa composition only recorded the basic melody of the music, after the founding of the Republic of China, the influence of Western music gradually led to the inclusion of actual performance details in the notation. Therefore, each fingering notation is adopted to analyze this subject.Chapter 1 explains the important role that fingering plays in Chinese musical instrument performances. It presents a clear definition of “fingering” and provides an overview of contemporary pipa research. The literature on pipa fingering is split into two perspectives—that of contemporary scholars and that of pipa masters—to conduct a comprehensive exploration. Chapter 2 investigates the recorded and evolution of pipa fingering techniques methods in Pipa Gongche notation and non-Gongche notation from 1762 to the present, then proposes a new categorization method for pipa fingering techniques to conduct subsequent analysis. Chapter 3 designs a method for analyzing pipa fingering techniques and applies it to three different versions of one civil style and one martial style composition, respectively, to determine the key stylistic differences attributable to the use of fingering techniques. Chapters 4 and 5 utilize the author’s new analysis method to investigate the application of fingering techniques by pipa masters in music produced before and after 1950. Conversely, Chapter 6 investigates the application of fingering techniques in pipa music created by modern and contemporary composers, then draws overall conclusions about the relationship between traditional and modern compositional styles and fingering techniques. It observes that after 1950, fingering techniques for pipa compositions in mainland China and Taiwan were impacted by changes in the musical environment and underwent different developments. Chapter 7 concludes by reassessing the benefits and flaws arising from changes in pipa fingering notation, as well as the challenges and difficulties for fingering technique application in modern pipa compositions.