查詢結果分析
相關文獻
- 琵琶樂曲之形成與藝術表達--以文曲《月兒高》為例
- Performance Study: Sound Analysis of the Traditional Civil Piece for Pipa "Yue Er Gao" ("The Moon on High") Performed by Three Traditional Pipa Schools
- 唐太宗與琵琶曲
- 論 <宋書·樂志> 所載十五大曲
- 試釋琵琶曲「霸王卸甲」
- 影響深遠的唐代大曲
- 《九宮大成南北詞宮譜》中與琵琶曲《月兒高》同名曲牌之詞情與格律之探討
- 庫文曲拉之交通流量特性
- 從《仁智要錄》箏譜論唐代大曲之摘遍和樂譜--以〈涼州辭〉、〈劍器渾脫〉、〈還京樂〉、〈泛龍舟〉、〈蘇莫遮〉為例
- 說舞旋
頁籤選單縮合
題名 | 琵琶樂曲之形成與藝術表達--以文曲《月兒高》為例=The Forming and Expression of Traditional Pipa Pieces the Moon on High |
---|---|
作者姓名(中文) | 許牧慈; | 書刊名 | 音樂研究 |
卷期 | 12 民95.12 |
頁次 | 頁105-125 |
分類號 | 919.33 |
關鍵詞 | 琵琶曲; 文曲; 大曲; 月兒高; 樂種學; Pipa; Pipa Wen-Qu; Traditional Chinese music; Traditional Chineseinstrument; |
語文 | 中文(Chinese) |
中文摘要 | 琵琶傳統曲目多半並非某一作者,以個人之技巧與思維創作而成,而是與許多民間樂曲的形成方法相同,以某些特定的曲調,經過連綴、加花、指法安排、情境設定而成。樂曲生成的過程中經過演奏者一再地增刪與潤飾,而集結了多人的創意與詮釋形成完整的風貌。然而這樣一種創作的系統中,卻也產生了一些篇幅較大且張力鋪排一氣呵成的樂曲,藝術化程度也相當高,這些樂曲究竟是依什麼樣的方式凝聚、衍生出來的呢?以性能複雜、表現力寬廣,也是中國少有獨奏樂器之一的琵琶曲而言,經典的「套曲」, 幾乎每首都有搶眼的特色,其中《月兒高》一曲,既是最早正式刊印出來的大套文曲,其結構、表現方式及音樂風格又與其他所有套曲有相當大的不同。原本是以五個完全不同曲牌連綴而成,但琵琶獨奏曲形成後,其詮釋卻完全找不出連綴的痕跡,反比其他樂曲更加一氣呵成、迭盪有致。這樣從現有曲牌連綴,到音樂素材內化融為一體的過程,可以看出在沒有具體作曲理論指導的音樂系統中,大型樂曲的形成方式。 |
英文摘要 | Most of the traditional Chinese repertoires were not made by one specific composer, nor resulted from the concept of 'composing'. Instead they were products of a 'collective creation' process, through which came a number of pieces with intensive structure and profound artistic achievements. Take Pipa for example, highly instrumental and itself one of the rare solo instruments in Chinese music history, it has developed several musical forms including the classic paragraphic pieces. Each of the pieces has its own attracting characters, yet The Moon on High is still among them an unique one. Not only was it the earliest Wen-Qu ever printed, it structure, expression and style also separates it from the others. Originally complied with five different small pieces, it was fused so naturally in one that it is even more grandeur and wholesome than most of other pieces. Analyzing this famous title brings the discussion of how the 'means' of the performers, who were also the participants in the process of collective creation, was integrated as doctrines while interpret and re-interpret such a complex of random materials until internally recreates it into a nourish musical form with multi-layers not based only on elements of motives or phrases. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。