琵琶曲《青蓮樂府》演奏分析與研究 —— 以王範地演奏譜為例
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2018
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傳統曲目，為琵琶藝術的重要精髓。1819年，華秋蘋主編的《琵琶譜》正式出版，成為了記載琵琶傳統樂曲的先驅。1895年，李芳園將《琵琶譜》之曲目，重新編排、整理後，以《南北派十三套大曲琵琶新譜》之名出版，其中《青蓮樂府》即為李芳園，以個人見解，將《琵琶譜》中的四首小曲重新編排，再以聯綴的發展手法串聯成套後，重新命名之文套曲，此曲也成為琵琶經典傳統文套曲之一。而將《青蓮樂府》納入流派傳譜的有平湖派及汪派，再加上現行的演奏譜，共有九種版本，而本文則以王範地之《青蓮樂府》演奏譜做為探討及分析。
本文分成三個部分，第一部分為文獻的探討，透過追溯《青蓮樂府》之源流，於傳統流派中之保存，及現行演奏譜之比對，藉以釐清其形成與發展；第二部分為王範地與其演奏譜之探討、分析，在內容方面，以介紹王範地之生平，教學理論之運用，並且釐清其音樂美學及二度創作之理念，藉此對應筆者對王範地演奏譜《青蓮樂府》的分析及詮釋；第三部分則為結論，除了總結各章之重點，亦論述筆者在此文所獲得之研究成果及意義。
Traditional pieces are of the essence in pipa music. In 1819, “Pipa score”, edited by Hua Qin Ping, was published and became a pioneer in the collection of pipa scores. By 1895, Some of the pieces in “Pipa score” was rearranged by Li Fang Yuan and published in the name of “the New Scores of Thirteen Daqu Suites of the Northern and Southern Schools”. And “Qinglian Yuefu” is one of the works that Li Fang Yuan rearranged the four pieces from “Pipa score”, which were linked into a Suite form and renamed. It also became one of the classic pieces in traditional pipa music. There are two traditional schools of pipa, Pinghu and Wang school, put “Qinglian Yuefu” into their own edition. With current performer edition, there is nine version of “Qinglian Yuefu” in present. And this study is based on the edition of Wang Fan Di’s “Qinglian Yuefu” for discussion and analysis. This article is divided into three parts. The first part is a literature review. By tracing the origin of “Qinglian Yuefu”, the preservation of school edition, as well as the comparison of current performer edition, to clarify its formation and development. The second part is the discussion of Wang Fan Di, including the introduction of all his life, the analysis of his score, the using of his teaching system, and the concept of his musical aesthetics and derivative works. All of the above-mentioned help author analyzing the edition of Wang Fan Di’s “Qinglian Yuefu”. The last part concludes the study. Apart from the main point of each chapter, it also discusses the research results and findings.
Traditional pieces are of the essence in pipa music. In 1819, “Pipa score”, edited by Hua Qin Ping, was published and became a pioneer in the collection of pipa scores. By 1895, Some of the pieces in “Pipa score” was rearranged by Li Fang Yuan and published in the name of “the New Scores of Thirteen Daqu Suites of the Northern and Southern Schools”. And “Qinglian Yuefu” is one of the works that Li Fang Yuan rearranged the four pieces from “Pipa score”, which were linked into a Suite form and renamed. It also became one of the classic pieces in traditional pipa music. There are two traditional schools of pipa, Pinghu and Wang school, put “Qinglian Yuefu” into their own edition. With current performer edition, there is nine version of “Qinglian Yuefu” in present. And this study is based on the edition of Wang Fan Di’s “Qinglian Yuefu” for discussion and analysis. This article is divided into three parts. The first part is a literature review. By tracing the origin of “Qinglian Yuefu”, the preservation of school edition, as well as the comparison of current performer edition, to clarify its formation and development. The second part is the discussion of Wang Fan Di, including the introduction of all his life, the analysis of his score, the using of his teaching system, and the concept of his musical aesthetics and derivative works. All of the above-mentioned help author analyzing the edition of Wang Fan Di’s “Qinglian Yuefu”. The last part concludes the study. Apart from the main point of each chapter, it also discusses the research results and findings.
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琵琶, 青蓮樂府, 傳統文套曲, 演奏譜, 王範地, 教學理論, 二度創作, 音樂美學, Pipa, Qinglian Yuefu, Traditional Suite, Performer edition, Wan Fan Di, Teaching system, Derivative works, Musical aesthetics