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琴曲《平沙落雁》是目前流传范围最广、刊载次数最多的琴曲之一。历代琴家们每每在承袭传统之余,都在不断的为这条古老的河流注入新脉。在百年的流传过程中,《平沙落雁》从《古音正宗》最初的五段发展到了《五知斋琴谱》的七段、《自远堂琴谱》的十一段;从最初的两个源头并行到今天的一脉独存,从中能够清楚地看到一首琴曲传承发展的脉络。本文试从音乐形态着手对从明崇祯7年《古音正宗》(1634)至《梅庵琴谱》(民国,1931)共69部琴谱所载的《平沙落雁》进行堪比、分析并梳理其发展的脉络。
The piano song “Ping Sha Luo Yan” is currently the most widely circulated, most frequently published one of the songs. Past generations of Qinqin often inherit the tradition, are constantly pouring new veins into this ancient river. During the centennial circulation, Pingsha Luogeng developed from the first five paragraphs of “Gu Yin Miao” to seven sections of “Wu Zhi Zhai Qin Pu” and eleven sections of “Qin Yuan Zhai Pai”; from the first two The source of a parallel to today’s unique history, from which we can clearly see a melody inheritance development context. This article tries to make a comparison and analysis of “Pingshaluan Geese” contained in 69 instruments of Ming Dynasty from “Gu Yin Anzheng” (1634) to “Mei An Qin Pu” (Min Guo, 1931) Sort out the context of its development.