古琴曲《大胡笳》及《小胡笳》的研究

Abstract

本文的研究對象為1425年成譜之《神奇祕譜》中所收錄的《大胡笳》與《小胡笳》兩曲。研究的主線有三：首先爬梳胡人樂器「胡笳」傳入中國之後，以及成為「胡笳」琴曲的相關文獻記載，並同時探索當時中國的胡漢關係。藉此釐清「胡笳」如何由一外族樂器，進而成為古琴曲的歷史流變，同時也呈現出「胡笳」古琴曲逐漸成為漢文人寄寓哀思的獨特演變過程。 論文的第二條研究主線，在於用筆者獨創的分析方法，將《大胡笳》與《小胡笳》兩曲作通曲的音樂分析，將其拆解成許多小段樂句，以呈現兩曲各自的宏觀結構，發現兩曲皆由重複或發展的樂句型堆疊而成。其次在微觀的視角下，分析兩曲的調式轉換、音階結構以及各種特定樂句所負載的功能。並發現《小胡笳》有著文獻記載，北朝至隋代流行於民間的古音階結構，意義非凡。 論文的第三條主線，將用筆者於田野調查中所獲對古指法的知識，比較兩曲的相似樂句型，並以音樂與指法分析，呈現《大胡笳》乃經由唐、宋、元、明之改制再造，而《小胡笳》則可能屬於年代較早之唐、宋遺譜的可能。而兩曲既有極多處的相類音樂元素，則《大胡笳》與《小胡笳》曾經由同一人整理創制的可能性非常高，或可為歷代文獻皆言唐代董庭蘭制二曲的說法提供證據。

This thesis is a study of the guqin pieces “Da Hujia” and “Xiao Hujia” in the “Sheng Qi Mi Pu” which was collected and edited at the 1425A.D. There are three main study methods in this thesis. First, I explored and discussed the historical documents to show the process how the “Hu” instrument “Hujia” became a subject of Chinese guqin repertoire, and how the “Hujia” guqin pieces became a symbol of lament and sadness of exile in Chinese elites’ culture. Second, I analyzed “Da Hujia” and “Xiao Hujia” by the analysis method that created by myself. Through the sophisticated way of segmentation, I showed how those repeated and developed musical unites constructed the whole pieces. I also explored the way of mode transition and scales and some functional musical elements in these two pieces. Significantly, I found the ancient scale which had been once popular about Sui Dynasty in “Xiao Hujia”. Last, using the knowledge about ancient tablature I gained from my field works in China and the musical analysis, I found that “Da Hujia” probably had been re-edited or re-wrote by the qin players through Tang Dynasty to Ming Dynasty, and “Xiao Hujia” evidently preserved more old elements of Tang Dynasty or Sung Dynasty. Since I also found that these two pieces shared much the same musical elements, it could be true as it was told that these two pieces had been re-created by one composer in the historical documents. This composer maybe the Dong Ting Lan in Tan Dynasty.