《塞上曲》的流變與探析
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2024
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近百年來,現代國樂之發展多奠定於西方音樂理論基礎之上,與原中國傳統音樂有著許多差異,如記譜法的改變、樂器改革、教學方法變遷…等,而發展歷史悠遠的琵琶音樂亦深受影響。因此筆者試圖窺探琵琶音樂於百年發展中之音樂語法變遷,以琵琶大曲《塞上曲》為例,梳理其從原華秋蘋《琵琶譜》中之多首小曲,衍變至李芳園《南北派十三套琵琶新譜》之大曲型式,再發展至現今諸多流派所詮釋版本之脈絡,並探討其於不同時段、流派與傳承過程中之變化,亦從現代國樂的發展改革、文化認同中,看見、探討琵琶音樂的轉變與發展狀態。全文共分成四個章節,第一章為緒論,將研究動機、目的與方法講述,並回顧筆者於此文中所參考之文獻;第二章為《塞上曲》之清朝工尺譜源流與轉變梳理,主要以《南北派秘本琵琶譜真傳》、《南北派十三套大曲琵琶新譜》、《養正軒琵琶譜》、《瀛洲古調》、《汪昱庭琵琶譜》五者進行樂曲比對與分析,並探討琵琶音樂由小曲變至大曲之動機與意涵;第三章針對現今九版《塞上曲》演奏譜進行樂曲分析與比較;第四章結論則以記譜法、教學方法為切入點,探討琵琶音樂之轉變背景和意義,進而探討琵琶音樂在近百年中之變化。
Over the past century, the development of modern Chinese instrumental music has largely been grounded in Western music theory, resulting in numerous differences from traditional Chinese music, such as changes in notation, instrument reforms, and shifts in teaching methods. The rich historical evolution of pipa music, a longstanding tradition, has also been significantly influenced by these changes. Consequently, this paper endeavors to explore the syntactical transformations in pipa music over the past century of development.The thesis is divided into four chapters. The first chapter is the introduction, which outlines the research motivation, objectives, and methods, and reviews the literature referenced in this study. The second chapter traces and analyzes the origins and transformations of the Qing Dynasty Gongche Notation of"Sai Shang Qu," focusing on five key sources: "The Secret Pipa Scores of the Northern and Southern Schools," "The New Pipa Scores of the Thirteen Great Pieces of the Northern and Southern Schools," "The Pipa Scores of Yangzheng Pavilion," "The Ancient Melodies of Yingzhou," and "The Pipa Scores of Wang Yuting." This chapter examines and compares these musical scores, exploring the motivations and implications behind the transition of pipa music from small pieces to grand compositions. The thirdchapter analyzes and compares the current nine versions of the"Sai Shang Qu" performance scores. The fourth chapter concludes by discussing the changes in pipa music over the past century, focusing on notation and teaching methods, and examines the background and significance of these transformations.
Over the past century, the development of modern Chinese instrumental music has largely been grounded in Western music theory, resulting in numerous differences from traditional Chinese music, such as changes in notation, instrument reforms, and shifts in teaching methods. The rich historical evolution of pipa music, a longstanding tradition, has also been significantly influenced by these changes. Consequently, this paper endeavors to explore the syntactical transformations in pipa music over the past century of development.The thesis is divided into four chapters. The first chapter is the introduction, which outlines the research motivation, objectives, and methods, and reviews the literature referenced in this study. The second chapter traces and analyzes the origins and transformations of the Qing Dynasty Gongche Notation of"Sai Shang Qu," focusing on five key sources: "The Secret Pipa Scores of the Northern and Southern Schools," "The New Pipa Scores of the Thirteen Great Pieces of the Northern and Southern Schools," "The Pipa Scores of Yangzheng Pavilion," "The Ancient Melodies of Yingzhou," and "The Pipa Scores of Wang Yuting." This chapter examines and compares these musical scores, exploring the motivations and implications behind the transition of pipa music from small pieces to grand compositions. The thirdchapter analyzes and compares the current nine versions of the"Sai Shang Qu" performance scores. The fourth chapter concludes by discussing the changes in pipa music over the past century, focusing on notation and teaching methods, and examines the background and significance of these transformations.
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塞上曲, 琵琶音樂, 流變, 套曲, Sai Shang Qu, Pipa music, Transformation, Pipa Daqu