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敦煌乐谱三组琵琶定弦的正确与否,对于整个乐谱的解译起到至关重要的作用。而定弦的选择则来自乐谱的谱字、音位、琶音、演奏法诸方面。从[日]林谦三开拓以来现己取得了长足的进步。但是,真正要达到解译整个乐谱的彼岸,还需进一步深入研究探讨。尤其是伯字3539敦煌琵琶二十谱字和伯字3808敦煌乐谱之间的关系,尚需进行艰苦、细致的研究,以期得出科学的、正确的结论。另外,如何把隋唐燕乐的有关理论和敦煌乐谱的解译与演奏实践结合起来研究,也是十分必要且极有价值的。笔者想从有关敦煌乐谱琵琶定弦的筛选,来解析乐谱的琵琶定弦、谱字位、演奏指法及调性调式等方面的问题,作一初步的探求。
Dunhuang score three sets of pipa fixed or not, for the interpretation of the entire score plays a crucial role. The choice of chords comes from the spectrum of musical scores, phonemes, arpeggios, playing methods and other aspects. From [Japan] Lin Qian three pioneering now has made great strides. However, the real cross to be reached to interpret the entire score, the need for further in-depth study. In particular, the relationship between the first 3580 Dunlop Pipa and the first 3808 Dunhuang musical score still needs to be studied painstakingly in order to arrive at a scientific and correct conclusion. In addition, it is also very necessary and extremely valuable to study the related theory of Sui and Tang dynasties and the practice of interpretation and performance of Dunhuang music. The author wants to make a preliminary inquiry from the screening of the pipa strings in Dunhuang Music to analyze the pipa strings, spectral position, playing fingering and toning mode of music scores.