琴韻再現於箏鳴─以樊慰慈改編之《廣陵散》及《龍朔操》為例

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dc.contributor趙菁文zh_TW
dc.contributorChao, Ching-Wenen_US
dc.contributor.author陳品謙zh_TW
dc.contributor.authorChen, Pin-Chianen_US
dc.date.accessioned2022-06-08T02:39:22Z
dc.date.available2021-10-26
dc.date.available2022-06-08T02:39:22Z
dc.date.issued2021
dc.description.abstract古琴與古箏，至今皆有數千年的歷史，兩者於外觀、型制等具有諸多相通之處，卻承載不同之文化背景。古琴韻多聲少、不尚聲勢，古箏剛柔並濟、聲韻相間；雖有如此不同，卻備受儒家文人推崇。以古琴曲移植、改編、創作而成的箏樂作品，約莫可追述至1950年的近代箏樂發展。當時，箏樂家梁在平隨國府赴臺，並於五十年間將古琴曲之演奏技法、精髓為基礎，創作出四十餘首箏樂曲目；陳蕾士為箏樂移植的十二首古琴曲，則在1970年代的臺灣及香港盛極一時。同時，大陸箏樂家王昌元、張燕、項斯華等人也將部分知名古琴曲如《廣陵散》、《梅花三弄》等移植、改編至箏樂上演奏，試圖以此表現古琴曲之風貌。爾後，臺灣當代箏樂家樊慰慈，融合各式古琴演奏版本，形成其獨到的、具有濃厚古琴風格的箏樂作品十餘首。為探討如何以古琴曲拓展箏樂之藝術風格，本論文將探究上述作品的移植及改編手法，希冀作為日後類似研究主題之參考選項。本論文第一章以緒論出發，第二章探討古琴與古箏的各式比較，第三章則著墨於1950年代以降，梁在平、陳蕾士、項斯華等箏樂家主要改編作品的回顧，以及作品的重新思量，第四章則探討樊慰慈改編的《廣陵散》及《龍朔操》，以及個人對於此二首作品的理解與詮釋，第五章為建議與總結。zh_TW
dc.description.abstractGuqin and Guzheng have thousands of years of history. The outlook of the two musical instruments looks similar, but each has very different design. Therefore, while some of the performance techniques might be quite close, the musical characteristics are somewhat different.Beginning at the 1950s, the paths of Guzheng music development in Taiwan and Mainland China were very different. Until the 1970s, Liang Tsai-Ping’s Guzheng works and Luis Chen’s literati Guzheng arrangements of Guqin music had been very popular in Taiwan. In the same period, Guzheng musicians in mainland also attempted to adapt a few traditional Guqin works, e.g. Guanglingsan, The Three Lanes of Plum Blossoms for Guzheng. Fan Wei-Tsu, a contemporary Taiwanese Guzheng musician, was first influenced by Liang Tsai-Ping and Luis Chen in their adaptation of Guqin music. However, he merged various versions of authentic Guqin performance to form his own style which has more distinctive Guqin influence and in turn broadens Guzheng’s performance techniques and expressions. The main purpose of this thesis is to explore how to reproduce the style of Guqin on Zheng music. The author will explore the transcription and adaptation of the above works as a reference for similar themes in the future.The structure of the thesis starts from an introduction. Chapter 2 discusses the various comparisons between Guqin and Guzheng. Chapter 3 focuses on the review of various adaptations by Guzheng musicians since the 1950s, and the different approaches when adapting such works. Chapter 4 discusses Fan Wei-Tsu’s transcriptions of Guanglingsan and Longshuocao, as well as his personal opinion and interpretation of these two works. Chapter 5 is the summary and author’s suggestion..en_US
dc.description.sponsorship民族音樂研究所zh_TW
dc.identifier60591004M-40610
dc.identifier.urihttps://etds.lib.ntnu.edu.tw/thesis/detail/493123c35bd4ec0b4e62fc8f6963d334/
dc.identifier.urihttp://rportal.lib.ntnu.edu.tw/handle/20.500.12235/117085
dc.language中文
dc.subject古琴zh_TW
dc.subject古箏zh_TW
dc.subject古琴改編曲zh_TW
dc.subject樊慰慈zh_TW
dc.subject廣陵散zh_TW
dc.subject龍朔操zh_TW
dc.subjectGuqinen_US
dc.subjectGuzhengen_US
dc.subjectGuqin adaptationen_US
dc.subjectFan Wei-Tsuen_US
dc.subjectGuanglingsanen_US
dc.subjectLongshuocaoen_US
dc.title琴韻再現於箏鳴─以樊慰慈改編之《廣陵散》及《龍朔操》為例zh_TW
dc.titleThe Charm of Guqin Menifasted in Guzeng Music: A Case Study on The Guangling San and Longshuo Cao Arranged by FAN Wei-Tsuen_US
dc.type作品連同書面報告（藝術類）

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