古琴

MUSI 1026

⼆二零⼀一九年年⼀一⽉月⼆二⼗十⼀一⽇日
 古琴：演奏形式

• 獨奏（例例：《酒狂》）

• 琴簫合奏（例例：《憶故⼈人》）

• 琴歌伴奏（例例：《古怨》）

• （宮廷）雅樂合奏（已失傳）
 古琴：樂曲類型（⼀一）

• 「調意」、「開指」、「品」

李⺠民雄：「⼤大多只有⼆二、三⼗十個譜字，結構短⼩小簡單，實際上是
⼀一種幫助演奏者在演奏⼤大曲⼦子以前熟悉琴調和指法的練習曲。」

例例：南宋陳元靚《事林林廣記》所記之《開指黃鶯吟》（https://
www.youtube.com/watch?v=uWyAQtu-NEI）
 古琴：樂曲類型（⼆二）

• 「吟」、「引」、「操」、「弄弄」

李⺠民雄：「結構上有的較為短⼩小單⼀一，也有較為長⼤大。」

例例：《⼭山居吟》、《良宵引》、《龍翔操》、《梅梅花三弄弄》
 古琴：樂曲類型（三）

• 多樂段獨奏曲

李⺠民雄：「在古琴⾳音樂中最值得我們重視的是那種⼤大型的、結
構複雜的曲體，例例如《廣陵散》、《秋鴻》、《陽春》、《胡
笳⼗十八拍》、《漁歌》、《瀟湘⽔水雲》、《梅梅花三弄弄》等等。」
古琴：(多樂段)樂曲結構
• 散起 - 入調 【起、承】- 入慢 【轉】-（複起）【合】- 尾
聲

• 散起：⼤大多節奏⾃自由，速度緩慢，旋律律性不強，有確立調
性之作⽤用。

• 入調：呈現樂曲主要曲調，提供材料予樂曲及後發展（或
加以重複，或加以變化，或循環再現，或加入新材料... 創
作技巧與其他中國傳統⾳音樂相似）。
• 入慢：與「入調」於節奏、旋律律及調性等⽅方⾯面呈現強烈對
比之樂段。

• 複起：繼樂曲⾼高潮之後，加入帶有結束意味之樂曲，或以
重複或變化⼿手法，呈現部分已出現於「入調」之樂句句。

• 尾聲：⽤用泛⾳音演奏，「結束在主⾳音上，形成餘⾳音裊裊的效
果，令⼈人欣然回味。」
 《流⽔水》
• 散起 - 第⼀一段 (0:00-0:35)

• 入調 - 第⼆二⾄至五段（第⼆二⾄至三段為「起」[0:35-1:18;
1:18-1:43]，第四⾄至五段為「承」[1:43-2:23; 2:23-2:55])

• 入慢 - 第六⾄至七段（「轉」）[2:55-5:00; 5:00-5:22]

• 複起 - 第八⾄至九段（「合」）[5:22-6:31; 6:31-7:08]

• 尾聲 - [7:08-7:18]
 《流⽔水》（續）
• 根據明朝朱權《神奇秘譜》解題，《⾼高⼭山流⽔水》原本只是⼀一⾸首琴曲，前部分表
現⾼高⼭山，帶有「仁者樂⼭山」之意境，後部分表現流⽔水，帶有「智者樂⽔水」之意
境，直⾄至唐朝才被分為兩兩⾸首琴曲，到了了宋朝《⾼高⼭山》分為四段，《流⽔水》分為
八段。

• 根據宋朝朱長⽂文《琴史》記載，《⾼高⼭山流⽔水》源⾃自伯牙⼦子期之典故。

• 《流⽔水》於清朝變成九段：張孔⼭山受教於蜀派琴家馮彤雲後，於《天聞閣琴譜》
以《神奇秘譜》版本為基礎加入之第六段。

黃泉鋒：「（第六段）前部分發展（樂曲）前⾯面旋律律，後部分右⼿手⼤大量量使⽤用『滾拂』
指法 - 即食指及無名指掃拂琴弦，配合左⼿手的『綽注』- 即上滑下滑裝飾⾳音，營造
波濤起伏，流⽔水澎湃之勢。」
• 管平湖演奏版本收錄於旅⾏行行者⾦金金唱片（The Voyager
Golden Record）。

• 李⺠民雄於《古琴⾳音樂的表演形式》就《流⽔水》另作分析。
 《酒狂》
• 相傳為阮阮籍所作

• 姚丙炎根據《神奇秘譜》版本「打譜」，把樂曲以六八拍⼦子呈現。

黃泉鋒：「琴曲雖有樂譜記載，但由於減字譜只記指法，⽽而不記往往由老師親
授的節奏、速度、分句句和強弱等⾳音樂元素。因此，⼝口傳⼼心述的學習⽅方法仍最重
要。所以，並非每⾸首有琴譜的琴曲都在傳習，有不少琴曲因為失傳⽽而絕響。為
使絕響的琴⾳音再現，琴家嘗試根據琴譜記載的指法重構琴曲，此即打譜。琴家
打譜，需要加入⾃自⼰己的對節奏、速度、分句句、強弱和意境等⽅方⾯面的演繹。然⽽而，
打譜並不等於可以憑空想像和隨意發揮。打譜者⼀一般在彈琴技藝和琴學知識上
已有⼀一定造詣，⽽而打譜過程中，琴家往往需要參參考其他⽂文獻及比照其他琴曲，
務求揣摩出較為忠實的演繹，並根據曲意增加、刪減或修改。」

• 「樂句句」於⾳音⾼高及轉接⽅方⾯面突⺎兀兀不穩
 《憶故⼈人》

• 近代琴作，為清末⺠民初琴家彭祉卿得其⽗父所傳之樂曲。

• 樂譜先為彭⽒氏好友，廣陵琴派傳⼈人張⼦子謙⼿手抄，減字譜⼯工
尺譜並列列，始載於⼀一九三七年年《今虞琴刊》。

• 氣氛淒清孤寂，旨在道出「我有好懷，無所控訴」之情感。
 《瀟湘⽔水雲》

• 南宋郭楚望制曲，最早⾒見見於《神奇秘譜》。

• 版本甚多，近年年以吳景略略根據《五知齋琴譜》演奏版本及
查⾩阜⻄西根據《⾃自遠堂琴譜》演奏版本最為廣傳。

• 曾被作曲及指揮家瞿春泉改編為協奏曲。
 《長⾨門怨》
• 典故（《昭明⽂文選》）：「孝武皇帝陳皇后時得幸，頗妒。
別在長⾨門宮，愁悶悲思。聞蜀郡成都司⾺馬相如天下⼯工為⽂文，
奉黃⾦金金百⽄斤為相如⽂文君取酒，⽽而相如為⽂文以悟主上，陳皇后
復得親幸。」

• Bell Yung: "'Changmen yuan' refers to the story of Empress

Chen of the Han dynasty, who, confined to the Changmen
Palace, was ignored by Emperor Wu and destined to lead a
life of loneliness. For centuries the story resonated with
women who empathized with Empress Chen, whose fate
they experienced as similar to their own."
查⾩阜⻄西與蔡德允演繹《長⾨門怨》之風格差異異

• "Zha [Fuxi] and Tsar [Teh-yun] take opposite approaches in manipulating

the music to express the protagonist in the story. Leaving aside the
question of whose interpretation is closer to the yijing of the story, Tsar's
version clearly illustrates her distinctive musical style."

• “Control of relative duration of individual pitches is directly related to

control of tempo, and the manipulation of tempo is one method by which
some qin musicians exercise their creativity and establish their individual
styles, so long as they stay within the bounds of acceptable performance
practice. In traditional performance practice a composition almost
always begins rather slowly; the tempo gradually increases throughout
the piece until near the very end, when the tempo slows down again.
This tempo structure... is followed by most qin players and in a large
number of compositions, although the tempo itself, and the speed of
change, may vary from one player to the other; since no tempo markings
are given in the notation, a performer may do as he or she wishes.”
• "Setting aside the opening section and the coda, both of
which are in free rhythm, Tsar's tempos of Sections 2
through 6 are, respectively, 52, 72, 84, 88, and 90 beats
per minute. Thus she makes a rapid increase in tempo
from one section to the next. Comparatively, Zha Fuxi's
tempo increase is milder and more gradual compared to
Tsar's. The total effect of Zha's version, not only these
sections but the entire piece, is one of intellect, elegance,
and control - Apollonian as it were, in contrast to Tsar;s
Dionysian treatment. Indeed, Tsar's version, with its
handling of tempo, makes much more liberal use than
Zha's of various ornamental techniques such as yin, nao,
zhu, and zhuo, as well as sections of free rhythm
mentioned earlier, to project a more emotional aura."
 琴曲標題與意境表達

• 從琴曲之標題引申其⾳音樂意境之⼤大概

• ⾃自然景觀（《瀟湘⽔水雲》、《流⽔水》）、⼼心情感受（《憶
故⼈人》）、故事（《長⾨門怨》）

• 歷史（《長⾨門怨》）、傳說（《廣陵散》）、傳奇（《天
風環佩》）、宗教（《普庵咒》）、哲學（《莊周夢蝶》
 琴曲演奏傳統
• ⽂文⼈人琴（以意境表達為先）與藝⼈人琴（以技巧呈現為先）

Bell Yung: "[N]otwithstanding [Tsar's] stature as the most highly

esteemed qin musician, her playing occasionally has errors in pitch
precision and plucking, in contrast to the near-perfect playing
technique of other musicians on commercial recordings. These
errors... may be explained as yet another manifestation of the
traditional qin ideology, which declares that the yijing, or 'mood,'
that the music evokes is more important than the music sound.
The primary aim of a performance is to evoke that prescribed
mood within the performer; the musical sound itself is but a vehicle
by which to arrive at that aim. To qin players who follow this
ideology, minor errors do not affect the mood of the music."
 古琴與⽂文⼈人⽂文化
• 傳統琴⼈人多為⽂文⼈人，其知識⽔水平⾜足以使其較易易理理解及表達琴曲之意境。

Bell Yung: "In a yaji, the listeners, who tend to be well-educated qin players
themselves, share the same ideology and aesthetic. In contrast, the
contemporary professional qin players steps out of the literati's world to
face a concert audience that may not be well educated enough to
appreciate the yijing of qin music."

Bell Yung: "Many accomplished qin players today on the Mainland are
professionals who teach and perform as a career. They cater to a general
audience; the louder and brighter sound produced from tighter strings
makes their music more accessible and appealing to the listener. In
contrast, Tsar adheres strictly to the traditional ideology: she plays only for
herself; her music is free of influence by the likes and dislikes of a listening
public."