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对于艺术的传承来讲,多数是以作品为载体,琵琶艺术也是这样,每一代琵琶大师都会把自己的思想、理解的程度以及自身的性格通过不同的琵琶曲表现出来,经过演奏实践和磨练并通过群众鉴定等过程而逐步形成,汇总在一起就是谱集。本文笔者将浦东派的《养正轩琵琶谱》(1983年9月第一版)与崇明派《瀛州古调》琵琶谱(1984年6月出版的,由樊少云传谱于陈恭则、樊伯炎,殷荣珠整理)做一下简单的比较。
For artistic heritage, the majority is based on the works as the carrier, the same is true for the pipa art, each generation of pipa master will put their own thoughts, understanding and their own personality through different pipa show, after playing practice and honed And through the process of mass identification and other gradually formed, together is the spectrum set. In this paper, the author of the Pudong School “Yang Xuan Pipa spectrum” (September 1983 first edition) and the Chongming School “Yingzhou ancient tune” Pipa spectrum (1984 June published by Fan Shaoyun Biography in Chen Gong Ze, Fan Bo Yan, Yin Rongzhu finishing) to do a simple comparison.