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篇名 古琴指法吟、猱以「圓」為美的意義與流變
並列篇名 The Meaning and Evolution of “Roundness and Fullness” as Beauty Using the Techniques of the Fingers: “Yin” and “Nao” of Guqin Music
作者 李美燕(Lee, Mei-Yen)
中文摘要 「五音活潑之趣,半在吟猱」,這句話最早由(明)徐谼所提出,時至今日,吟猱的指法依然是琴韻之美的關鍵。然而,吟猱的指法如何形成琴曲的趣與韻呢?由於吟猱指法的表現隨著琴家與琴派的不同而有大同小異的出入,筆者先從存見明清古琴譜按年代先後排序,將吟猱指法做整理與分析,羅列其中有關吟猱指法的重點,比對其異同與流變,最後,再以其中獨具特色的《梅庵琴譜》中的吟猱指法為例,參酌梅庵派古琴家徐立孫及吳宗漢的錄音,並結合筆者向呂培原老師習得此曲時所獲得之體會與理解,以見吟猱指法如何形成此曲的意韻,由此來看古琴之「吟猱」指法流傳至今的現代流變。
英文摘要 The lively delights of guqin music depend partly on the vibratos: “Yin” and “Nao”, according to Hong Xu in the Ming dynasty. Today, the techniques of the fingers: “Yin” and “Nao” are still the key to appreciating guqin music. However, how do the techniques of the fingers: “Yin” and “Nao” contribute to the lively delight and lasting charm of guqin music? The interpretation of these techniques varies greatly among guqin players and guqin schools. This paper first sorts and analyzes what was written about the techniques in the guqin handbooks in the Ming and Qing dynasties chronologically, and then according to the different approaches to the techniques comparing their similarities and differences as well as their development over time. Finally, the author takes “Pingsha Luoyan” (Wild Geese Descending On The Sandbank) collected in Mei-an ch'in-p'u as an example, to see how the evolution of the techniques of the fingers: “Yin” and “Nao” of guqin music influenced modem guqin players in their interpretation of the lively delights and lasting charm of guqin music.
頁次 045-078
關鍵詞 吟猱 古琴 指法 《梅庵琴譜.平沙落雁》 roundness and fullness “yin” “nao” guqin the techniques of the fingers “Pingsha Luoyan” in Mei-an ch'in-p'u
卷期 38
日期 202001
刊名 藝術評論
出版單位 國立臺北藝術大學
DOI 10.3966/101562402020010038002