古琴曲《廣陵散》研究：以指法邏輯為本的音樂分析

Abstract

《廣陵散》相傳為魏晉時代便已流行的古琴曲目，而在近代普遍被認為是中國傳統音樂中最古老而重要的樂曲之一。然而，除了嵇康從容赴死的形象，以及聶政刺韓王故事的詮釋，我們似乎仍然對《廣陵散》實際的音樂內容與其發展演變的過程一知半解。近代《廣陵散》研究各有貢獻，但普遍侷限於單一層面的思維。例如，譜本研究者往往只從局部的譜字訊息去處理現存版本斷代的議題，而不觸碰音樂訊息的詮釋；音樂研究者則透過現代譯譜來分析音樂，卻不考慮譜式與指法演變的歷史脈絡。有鑑於此，本論文嘗試建立一套研究系統來分析《廣陵散》譜本的內涵，而指法作為譜本記載的核心要素，對其組合與操作邏輯的理解乃貫穿所有層面分析的根本。 在現存《廣陵散》譜本中，年代最早的三個版本分別是《神奇秘譜．廣陵散》、《西麓堂琴統．廣陵散》與《西麓堂琴統．又廣陵散譜》。本論文將分成三個層面來分析此三版的音樂訊息。第一層從譜式下手，以文字譜與減字譜的關係，來解析三版之間記譜法的演變。第二層針對古琴指法的發展，其中，筆者將從減字譜的分解中還原各類唐代以前指法的樣貌，並以晚唐陳拙所建構的指法理論為坐標，釐清三版中指法發展的脈絡。第三層則聚焦於《神奇秘譜．廣陵散》音樂素材形態與結構的分析，藉由對此版本全面性的音樂分析，筆者將深究《廣陵散》所體現的創作邏輯與深層結構。 透過以上多層次的分析，本論文不僅期待揭露《廣陵散》在不同歷史階段所積累的音樂內涵與文化意義，同時也嘗試尋找一種適合於古琴音樂的分析途徑，這些成果最終將共同豐富當代傳統音樂的研究與詮釋。

Guangling San is traditionally believed to have circulated as a qin composition as early as the Wei–Jin period and is now widely regarded as one of the oldest and most important works in the Chinese musical tradition. Yet beyond the enduring image of Ji Kang calmly awaiting execution and the programmatic interpretation associated with the story of Nie Zheng’s assassination of the King of Han, the musical substance and historical development of Guangling San remain only partially understood. Although modern scholarship has contributed significantly to the study of the work, it has generally approached the subject from a single analytical perspective. Studies of historical tablatures, for example, have often attempted to date surviving versions on the basis of isolated notational evidence without engaging with the musical implications of that evidence. Musicological studies, by contrast, have tended to analyze modern transcriptions of the music without adequately considering the historical development of tablature systems and fingering techniques. To bridge this methodological divide, this dissertation develops an integrated framework for investigating the musical content preserved in the tablatures of Guangling San. Its point of departure is qin fingering, not merely as a means of realizing the music in performance, but as a generative principle through which musical material is conceived and organized. The fingering signs encoded in qin tablature articulate patterned relationships among bodily gesture, timbral transformation, spatial movement across the instrument, and the unfolding of sound through time. Certain fingerings also embody named images, in which a particular physical configuration and quality of motion constitute a distinct unit of musical meaning. Fingering is therefore not external to the musical work as a technique of execution; its combinations and modes of operation participate in the formation of the music itself. By reconstructing the principles governing these combinations, the present study establishes a foundation for understanding the notation, historical development, and musical structure of Guangling San as historically interconnected dimensions of its musical organization. The three earliest extant sources are the version of Guangling San preserved in Shenqi Mipu, together with “Guangling San” and “You Guangling San Pu” in Xilutang Qintong. This dissertation examines these sources on three interrelated levels. First, it examines the development of notational practice and the performance practices it preserves through the relationship between wenzipu (longhand tablature) and jianzipu (abbreviated-character tablature). Second, through a systematic decomposition of the signs found in jianzipu, it reconstructs forms of fingering practice that predate the Tang dynasty and, with the late-Tang fingering theory of Chen Zhuo as a historical point of reference, traces their development across the three sources. Third, through a comprehensive analysis of the musical materials and formal organization of the Shenqi Mipu version, it investigates the compositional logic and underlying structural principles of the work. Through this multilayered inquiry, the dissertation seeks not only to illuminate the musical meanings and cultural significance accumulated over the course of the history of Guangling San, but also to develop an analytical approach specifically suited to qin music. Taken together, these findings contribute to a fuller understanding and interpretation of this musical tradition in contemporary scholarship.