音樂風格的印象式批評研究：以廣陵琴派為例

Abstract

一般對於古琴流派風格之描述近似中國文學的印象式批評，用語往往抽象而籠統，以廣陵琴派為例，其「跌宕多變、綺麗細膩、剛柔相濟、音韻並茂」的說法在琴人間耳熟能詳，但何謂「跌宕」、如何「多變」、什麼樣可以稱作「綺麗」、有多「細膩」等問題卻鮮少有人能具體回答。 為了釐清其中「跌宕多變」和「綺麗細膩」的涵義，筆者自《澄鑒堂琴譜》、《五知齋琴譜》、《自遠堂琴譜》、《蕉庵琴譜》、《枯木禪琴譜》等五本廣陵派代表琴譜開始爬梳，並分析〈梅花三弄〉、〈平沙落雁〉、〈龍翔操〉、〈梧葉舞秋風〉、〈山居吟〉、〈樵歌〉、〈墨子悲絲〉等七首琴曲的減字譜，發現清代的廣陵琴派運用方向、時值和速度的區別，發展出多樣化的吟猱，其音樂因而「綺麗細膩」；而譜中數種不同的跌宕指示為「跌宕多變」提供了初步證據。 然而，從琴譜中得到的結果只能用於說明清代廣陵琴派的風格，為了理解當代的廣陵琴派具體如何表現「跌宕多變」與「綺麗細膩」，本文分析了劉少椿、張子謙、梅曰強、林友仁、成公亮、戴曉蓮、李鳳雲、楊春薇、楊秋悅等三代廣陵派琴人之錄音，發現當代的廣陵琴派運用不規則的節拍，形成「跌宕多變」的節奏。指法上則較其他琴派運用更多元的吟猱，故可稱為「綺麗細膩」。

This thesis is a study of the “Guang Ling” school of guqin which is commonly described as “Die Dang Duo Bian (跌宕多變, changeable)” and “Ci Li Si Ni (綺麗細膩, colorful and exquisite).” There are three main study methods in this thesis. First, I searched the historical documents about Guang Ling school and showed how they were described, and what their asserted about music.I also investigated their tablatures by the example of seven pieces including “Mei Hua San Nong,” “Ping Sha Luo Yan,” “Long Siang Cao,” “Wu Ye Wu Ciou Fong,” “Shan Jyu Yin,” “Ciao Ge,” and “Mo Zih Bei Sih” and showed that they used various notations of fingerings and tempo compatible with the meaning of “Die Dang Duo Bian” and “Ci Li Si Ni.” Second, I analyzed recordings of those pieces played by nine modern representative players of Guang Ling school including Liou Shao Chun, Jhang Zih cian, Mei Yue Ciang, Lin You Ren, Cheng Gong Liang, Dai Siao Lian, Li Fong Yun, Yang Chun Wei, Yang Ciou Yue. I pointed out that metric modulation was far more frequently used by Guang Ling school during their performance in comparison with other schools which was so-called “Die Dang Duo Bian”. Thirdly, I analyzed those recordings by means of spectrogram and showed that fingerings employed during the performance of Guang Ling school were more complicated than other schools. This were the practice of “Ci Li Si Ni.”