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历代文献记载及诗词中,有着大量描述琵琶和琵琶古曲的精采篇章。在琵琶发展史上,各派高手,代不乏人,名见经传的“琵琶世家”,亦层出不穷。父子辈琵琶中均技艺超群者,当数“明末清初北派名家通州人白在湄及其子白式如”(吴钊、刘东升《中国音乐史略》)。白氏父子“俱善琵琶”,又“好为新声”。清初太仓才子吴伟业在《梅家村藏稿》中记其“偶频南园,忽闻琵琶声出于短垣丛竹间,循墙侧听,当其妙处,不觉附掌”。遂“问向谁弹?则通州白在湄子式如。”伟业还为之作诗颂曰:“南山石裂黄河倾,马蹄进散车徒行。铁凤铜盘柱摧塌,四条弦上烟尘生。”可见其弹奏确实不同凡响。
Historical records and poetry, there are a lot of brilliant description of pipa and pipa chapter. In the history of pipa development, various faction masters, no shortage of people on behalf of, known by the “Pipa family”, also after another. Father and son are lofty pipa skills who, when the number of “late Ming and early Qing Dynasty Northern School masters Tongzhou white in the Meizu and white” (Wu Zhao, Liu Dongsheng “Chinese music history”). White’s father and son, “good pipa”, and “good for the new voice.” At the beginning of Qing Dynasty, Wu Weiye, a talented woman in Taicang, remembered his “Rhythm South Garden” in the book “Collection of the Meijia Village”. Then “ask who to play? Tongzhou white in the Meiko style.” Albert also wrote poems Chung said: “Nanshan cracked the Yellow River dumping, Horseshoe intoxicants .Tablet iron tray collapsed, four strings Smoke on students. ”It can be seen playing really extraordinary.