王燕卿古琴音乐研究

发布时间：2018-03-14 14:44

本文选题：王宾鲁　切入点：王燕卿　出处：《上海音乐学院》2009年博士论文　论文类型：学位论文

【摘要】： 王燕卿(1867—1921),名宾鲁,山东诸城琴人。民国六年(1917年)他与康有为一同南游,因琴艺精湛,受聘到南京高等师范传授古琴,是中国第一位进入大专院校授课的琴家,他在南京「梅庵」的琴学传承,因弹奏风格独特有新意,被当时琴界称呼为「梅庵琴派」。梅庵弟子所整理的王燕卿传谱《梅庵琴谱》,至今已有中文、英文、西班牙文等十几个版本,一个琴谱以不同的面貌发行这麽多次,这也是古琴界自古以来绝无仅有之事。目前,梅庵传人遍OH世界各地,笔者即是台湾梅庵派第三代琴宗吴宗汉先生的再传弟子,王燕卿梅庵琴传的第五代传人,本着对祖师王燕卿先生的浓厚兴趣与情感,因而着手研究他的琴乐。本文由四章组成：王燕卿古琴薪传、王燕卿古琴传谱综述、王燕卿古琴传曲分析、王燕卿古琴艺术探微。第一章主要讲述王燕卿的琴学背景以及王燕卿在中国山东诸城、济南以及南京「梅庵」的古琴传承。第二章梳理王燕卿传承的传谱,包括未出版的手抄琴谱以及《梅庵琴谱》等十几个版本。第三章对王燕卿所传琴曲进行曲调的探源比较与音乐分析,主要内容：一、梳理其传曲与中国历代琴谱的琴曲中,同名同曲或同曲异名的联系。二、比较王燕卿早、中、晚期的传谱中琴曲内容的变化,从而观察他对所传琴乐在不同时期的改变与再创造。三、比较王燕卿传谱和山东地区琴谱之间的变化,找出其中的不同,并归纳其规律,从中探究王燕卿传谱与传曲的音乐特点。第四章对王燕卿古琴艺术作一统合的梳理,从王燕卿对传乐所要求与改动的变化,归纳整理其琴乐与演奏的特点,包括对演奏指法减字谱的记谱规范、乐曲节奏的规范、演奏手法技巧的统一、乐曲的创新与创作…等。从这些音乐与谱本的细微变化处引申,笔者尝试探讨王燕卿的琴学理念、琴乐演奏与风格特点、琴乐审美观以及他对中国琴道精神的实践与追求,并且论及他的弟子们对其琴学的继承与梅庵琴派形成的关系。本文在笔者演奏与教学的实践体验之下,通过自创结合五线谱与古琴减字谱的手抄对比谱,从两种谱式的对比,可以清楚王燕卿对其传谱所做的细微变化,再经由这些变化去认识王燕卿古琴音乐的真髓，最后将其古琴音乐作有系统的理论归纳与整理,发掘出许多琴界未曾发现的王燕卿琴乐传承的音乐特点,并感受到王燕卿有意识的在建构一琴学的理论框架,实践在他所传的琴乐中。本文运用中国传统音乐理论的音乐形态研究,去对近现代的琴界奇葩——王燕卿先生的传承琴乐做整体音乐的比较研究,这是笔者在本论文中花费最多心力的成果展现,希望这也能为中国的琴乐研究开辟一个新的视角。
[Abstract]:Wang Yanqing (1867-1921), named Binlu, was born in Zhucheng, Shandong Province. In 1917, he traveled to the south with Kang Youwei. He was hired to teach Guqin in Nanjing normal University because of his excellent piano skills. He was the first pianist in China to enter universities and colleges to teach Guqin. He inherited the piano theory of "Mei'an" in Nanjing, and because of his unique style of playing, he was called "Mei an Qin School" by the piano circles at that time. The biography of Wang Yanqing's music, "the music of Mei an piano," arranged by the disciples of Mei'an, has been written in Chinese and English to this day. There are more than a dozen versions in Spanish and so on, so many times that a score has been released with different faces. This is also the only thing in the ancient world. At present, Mei an has spread people around the world with OH. The author was the second disciple of Wu Zonghan, the third Pioneer of Taiwan's Mui-an School, and the fifth generation of Wang Yanqing's biography of Mui an Qin. In line with his strong interest and emotion in his ancestral teacher, Mr. Wang Yanqing, I began to study his piano music. This paper is composed of four chapters: Wang Yanqing Guqin Biography, Wang Yanqing Guqin Biography Summary, Wang Yanqing Guqin Biography Analysis, and Wang Yanqing Guqin Art Exploration. The first chapter mainly tells the background of Wang Yanqing's piano learning and the ancient Qin inheritance of Wang Yanqing in Zhucheng, Jinan and Nanjing. The second chapter combs Wang Yanqing's handed down music, including unpublished handcopy music and Mei'an 's music. In the third chapter, we compare and analyze the origin of the tunes of the music handed down by Wang Yanqing. The main contents are as follows: first, combing the relationship between the music handed down by Wang Yanqing and the synonym of the same name or synonym in the music of the past dynasties of China; second, comparing with Wang Yanqing's earlier and middle times, The changes in the content of the piano music in the later period of the biography, so as to observe the changes and re-creation of the piano music he has transmitted in different periods. Third, compare the changes between Wang Yanqing's biography and Shandong's, find out the differences, and sum up their laws. Explore the music characteristics of Wang Yanqing's biography and music. Chapter 4th combs the art of Guqin by Wang Yanqing. From the changes of Wang Yanqing's requirements and changes to the transmission of music, he summarizes the characteristics of his piano music and performance, including the specification of the notation of the subtraction of the word spectrum of the playing method, and the standard of the rhythm of the music. From the slight change of these music and the book of music, the author tries to discuss Wang Yanqing's theory of piano study, the characteristics of playing and style of piano music, and so on. The aesthetics of piano music and his practice and pursuit of the spirit of Qin Tao in China are discussed, and the relationship between his disciples' inheritance of his piano learning and the formation of Mei'an Qin School is also discussed. Under the writer's practice of playing and teaching, by combining the handwritten contrast spectrum of the five lines and the ancient piano subtraction, from the comparison of the two kinds of spectrum, it is clear that Wang Yanqing has made slight changes to his biography. Then through these changes to understand the true essence of the Guqin music of Wang Yanqing, and finally to make a systematic theoretical summary and arrangement of the Guqin music of Wang Yanqing, so as to discover the musical characteristics of the music inheritance of Wang Yanqing, which has not been discovered by many piano circles. And I feel that Wang Yanqing is consciously constructing the theoretical framework of Yiqin theory and practicing in the piano music he has passed on. This paper uses the Chinese traditional music theory to study the music form. The comparative study on the inheritance of piano music by Mr. Wang Yanqing is the result of which the author spends the most effort in this paper. I hope this will open up a new perspective for the study of piano music in China.
【学位授予单位】：上海音乐学院
【学位级别】：博士
【学位授予年份】：2009
【分类号】：J632.31

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