琵琶傳統樂曲骨幹譜發展脈絡之探討─以《霸王卸甲》為例

dc.contributor許牧慈zh_TW
dc.contributor.author黃凡芝zh_TW
dc.contributor.authorHuang, Fan-Chihen_US
dc.date.accessioned2019-09-05T11:54:51Z
dc.date.available2016-08-25
dc.date.available2019-09-05T11:54:51Z
dc.date.issued2015
dc.description.abstract琵琶的傳統樂曲在不同流派之間往往形成相異的樂譜版本,這些傳譜不僅呈現出不同流派所側重之風格或技法,同時也是演奏家在一定的樂曲骨幹框架下,對前人傳承之再創造。過去對於演奏版本之研究,多從音樂段落、標題異同及個別版本之技法、風格特點來著手,對於版本之間的演變關係,或是各版本如何演繹骨幹音進而創造出新的版本,則較少提及。 本文希望能突破以往研究的侷限,試圖以骨幹譜演奏及傳承創新的角度來切入演奏版本的研究,觀察不同流派對同一樂曲框架如何演繹和處理,而發展出不同的風格,以及一首傳統樂曲在流傳過程中是如何演變的。以琵琶武曲《霸王卸甲》為研究對象,首先透過梳理不同時代傳譜版本和脈絡,對於樂曲流變有一整體概觀後,進而分別以《南北派十三大套琵琶新譜》、《養正軒琵琶譜》及《汪昱庭先生琵琶傳譜》這三個主要版本為中心來與其他版本做詳細的對比與分析,觀察此三版本對樂曲有何繼承與創新,包含各版本如何處理骨幹音及其對樂曲風格產生的影響,最後以樂曲整體角度綜論演變的過程,從結構、段落小標題及骨幹音變奏手法來切入,並進一步探討各演奏者在樂曲詮釋思維上的異同。 研究發現不同演奏版本間雖有風格上的差異,但彼此之間有密切的關係,而產生差異的因素主要源於指法使用習慣、詮釋思維和美學追求上的不同。期待藉由本文對於琵琶流派之討論能夠有另一角度之切入,對當代傳統樂曲的再創造也有借鑑及啟發之意義。zh_TW
dc.description.abstractThe traditional pieces of pipa have been evolving to different versions between different schools. These scores not only demonstrate and focus on different styles and techniques of different schools but also are re-created as a new form of scores which follow a fixed skeletons based on the convention of the pioneers. Researches of performing versions in the past mainly focus on the development of the titles of sections and the styles of different versions. It’s rarely studied about how the developments of different versions or how the different versions deduce “skeletal notes” to create new versions. This research paper tries to jump out of the conventional frame, and analyze the performed versions with skeletal notation, also this paper will discuss the angle of recreating from tradition in order to observe how a piece was deduced and dealt by different schools, and how a piece is changed and performed as time passes. This paper chose the King Chu Doffs His Armor as the topic. First, you will get an overall concept of the changes of the piece by looking at the organization of differentversions in different eras. Second, “nanbeipai shisantao daqu pipaxinpu”, “yang zheng xuan pipapu” and “Wang Yu Ting xiansheng pipa chuanpu” these three major versions will be compared with other ones to analyze and observe the heritage and re-creation of the three major versions. Last, this paper will discuss the changing process from structures, subtitles of paragraphs, and variation of skeletal notes to understand the similarities and differences of the thoughts on the interpretation between different performers. The research discovered that there is a close relationship between different versions, and the factors of the differences are mainly originated by habits of fingering, thoughts on interpretation, and the pursuit of aesthetics. This paper hopes to provide some inspiration and examples in another angle for discussion of the schools of pipa and for more creative works of traditional pieces in the contemporary age.en_US
dc.description.sponsorship民族音樂研究所zh_TW
dc.identifierG0699910113
dc.identifier.urihttp://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22G0699910113%22.&%22.id.&
dc.identifier.urihttp://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/107021
dc.language中文
dc.subject琵琶zh_TW
dc.subject霸王卸甲zh_TW
dc.subject流派zh_TW
dc.subject骨幹譜zh_TW
dc.subject版本研究zh_TW
dc.subjectpipaen_US
dc.subjectKing Chu Doffs His Armoren_US
dc.subjectpipa schoolsen_US
dc.subjectskeletal notationen_US
dc.subjectstudy of versionsen_US
dc.title琵琶傳統樂曲骨幹譜發展脈絡之探討─以《霸王卸甲》為例zh_TW
dc.titleThe Developmental Context of the Skeletal Notation in Pipa Traditional Pieces – A Case Study on "King Chu Doffs His Armor"en_US

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