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《敦煌琵琶譜》素材運用與詮釋分析-以琵琶曲《高窟餘韻》為例=The Application and Interpretation Analysis of Dunhuang Pipa Scores-Taking Pipa Song "Gaoku Yuyu" as an example |
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| Author |
劉又慈 (著)=Liu, Yu-Tzu (au.)
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| Date | 2021 |
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| Pages | 70 |
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| Publisher | 國立臺灣師範大學 |
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| Publisher Url |
https://www.ntnu.edu.tw/
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| Location | 臺北市, 臺灣 [Taipei shih, Taiwan] |
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| Content type | 博碩士論文=Thesis and Dissertation |
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| Language | 中文=Chinese |
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| Degree | master |
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| Institution | 國立臺灣師範大學 |
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| Department | 民族音樂研究所 |
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| Advisor | 賴秀綢 |
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| Publication year | 109 |
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| Keyword | 敦煌藝術=the Art of Dun-Huang; 莫高窟=Mo-Gao Grottoes; 敦煌曲譜=Dun-Huang Scores; 高窟餘韻=The Melody of Gao-Ku |
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| Abstract | 琵琶曲《高窟餘韻》是筆者取自莫高窟中《敦煌琵琶譜》之素材創作而成的樂曲，莫高窟位於古代中國通往西域、中亞及歐洲的重要道路上，在此高窟中乘載著歷史的痕跡，也記載著東西方重要的藝術文化。本文章透過對作品的詮釋與分析，探討敦煌藝術，並對《敦煌琵琶譜》做整理與介紹。
《敦煌琵琶譜》原藏於敦煌莫高窟的藏經洞中，1900年守護莫高窟的道士王圓籙無意間在編號16的藏經洞甬道中發現被砌封已久的石窟，此石窟後編號為17，石窟內蘊藏書籍、經卷、織繡、壁畫及塑像等文物。1908年法國探險家伯希和將其購至巴黎，現收藏於法國國家圖書館，包括伯希和編號的P.3539、P.3719、P.3808三卷。其中於P.3808的經卷《長興四年中興殿應聖講解經文》背面，包含了保存較為完整的二十五首樂曲手抄譜，前人根據樂譜上的筆跡將樂譜分為三組，並推定出各組的定弦。
琵琶曲《高窟餘韻》樂曲開頭運用聲響技巧描摹出高窟位於沙洲中卻依然屹立的傳承精神，樂音的線條則是運用《敦煌琵琶譜》中第一組樂曲之定弦及音階貫穿樂曲，以起、承、轉、合的概念及琵琶指法的變化，描繪出高窟中豐富的歷史文化。筆者透過琵琶曲《高窟餘韻》以現今的琵琶演奏方式及藝術表現思維，連結塵封已久的《敦煌琵琶譜》，呈現出別具一格的敦煌樣貌。
The Pi-Pa music “The Melody of Gao-Ku” (also known as “Gao-Ku-Yu-Yun”) was composed using elements from “Dun-Huang Pi-Pa Scores” in the Mo-Gao Grottoes. The Mo-Gao Grottoes located on the pathway of China to Middle East and Europe. Historical evidence can be traced in the location, as well as remarkable oriental aesthetics.
“Dun-Huang Pi-Pa Scores” had been reserved in the Sutra Cave of the Mo-Gao Grottoes. During year 1900, tunnel no.17 of the Sutra Cave were explored through a broken passage by a Taoist priest named Wang, Yuan-Lu, who guarding tunnel no.16. Scriptures, embroideries, wall paintings and statues were found in the tunnel. During year 1908, the artifacts had been purchased to Paris by a French explorer Paul Eugène Pelliot. The scriptures including p.3539, p.3719 and p.3808 from Paul had been preserved in the National Library of France (also known as Bibliotheque Nationale de France). The back cover of p.3808 of ‘The Scripture of Zhong-Xing Palace in the 4th Year of Chang-Xing” had noted 25 pieces of manuscript notation. Previous researchers intended to differentiate the notation into 3 sections, each section consist of 1 tuning system.
The Pi-Pa music “The Melody of Gao-Ku” adapted different sound effects to create the atmosphere of the Mo-Gao Grottoes and the spirit of inheritance. The music also included melody with the tuning system in the first section. It also presents the beginning, developing, turning and finalizing of a music by using performing techniques in Pi-Pa, revealing the exquisite historical culture. This article is to manifest the relationship between “The Melody of Gao-Ku” and “Dun-Huang Pi-Pa Scores”, to show the extraordinary of the Dun-Huang through techniques and aesthetics in Pi-Pa. |
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| Table of contents | 摘要 i
Abstract ii
目錄 iv
表目錄 vi
圖目錄 vi
譜目錄 vii
第一章 緒論 1
第一節 研究動機與目的 1
第二節 研究範圍 3
第三節 研究方法與步驟 4
第四節 文獻回顧 7
第二章 敦煌藝術與《敦煌琵琶譜》 10
第一節 敦煌藝術的歷史與發展 10
第二節 《敦煌琵琶譜》的譯譜概況 13
第三節 《敦煌琵琶譜》之研究 17
小結 26
第三章 琵琶曲《高窟餘韻》分析與詮釋 27
第一節 《高窟餘韻》樂曲結構分析 27
第二節 《高窟餘韻》旋律素材運用 40
第三節 《高窟餘韻》演奏指法探討 44
第四節 《高窟餘韻》演奏與詮釋分析 51
小結 58
第四章 結論 59
參考資料 62
附錄一 《高窟餘韻》樂譜（全） 65 |
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| Hits | 369 |
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| Created date | 2022.09.19 |
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| Modified date | 2023.01.17 |
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