明清古琴譜中「指法手勢圖」的樂象意涵

明清古琴譜中「指法手勢圖」的樂象意涵

本研究旨在探討明清時期以來迄民國初期，古琴譜中「指法手勢圖」的樂象意涵。除了前言與結論外，首先提出前人的研究成果回顧，並以荷蘭漢學家高羅佩（Dr. Robert Hans van Gulik）及法國音樂學家知音（Dr. Véronique Alexandre Journeau）的觀點為考察對象；再參考今人顧梅羹之說，將古琴「指法手勢圖」的源流做一梳理；其後，以北京中華書局出版的《琴曲集成》為主，特就其中20 本古琴譜中「指法手勢圖」的指法形勢及聲音喻象做分類與比較，以探知其間之差異所展現出來的意義；最後，透過這些史料文獻的爬梳整理，本研究提出明清時期以來迄民國初期的古琴譜中「指法手勢圖」的樂象...

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Veröffentlicht in:Yi shu ping lun 2013-01 (24), p.001-035
1. Verfasser: 李美燕
Format: Artikel
Sprache:chi
Schlagworte:
fingering and gesture tablature
Guqin（'gu' = old
'qin' = a seven-stringed musical instrument）
Ming and Qing period
musical image
the handbook of Chinese Guqin
古琴
指法手勢圖
明清時期
樂象
琴譜
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description 本研究旨在探討明清時期以來迄民國初期，古琴譜中「指法手勢圖」的樂象意涵。除了前言與結論外，首先提出前人的研究成果回顧，並以荷蘭漢學家高羅佩（Dr. Robert Hans van Gulik）及法國音樂學家知音（Dr. Véronique Alexandre Journeau）的觀點為考察對象；再參考今人顧梅羹之說，將古琴「指法手勢圖」的源流做一梳理；其後，以北京中華書局出版的《琴曲集成》為主，特就其中20 本古琴譜中「指法手勢圖」的指法形勢及聲音喻象做分類與比較，以探知其間之差異所展現出來的意義；最後，透過這些史料文獻的爬梳整理，本研究提出明清時期以來迄民國初期的古琴譜中「指法手勢圖」的樂象意涵，其實是反映出人與大自然宇宙和諧為一的傳統文化價值觀
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The author classifies and compares the musical images of fingering and the metaphors of sound concerning Chinese Guqin, and then explores the significance of the musical images in "fingering and gesture tablature" of Chinese Guqin. In addition to the preface and conclusion, first, the author reviews the results of previous studies such as Dutch Sinologist Robert Hans van Gulik's and French musicologist Véronique Alexandre Journeau's. Second, the author views the origin and development of "fingering and gesture tablature" of Chinese Guqin from a histo</abstract><cop>台灣</cop><pub>臺北藝術大學</pub><tpages>35</tpages></addata></record>
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source EZB-FREE-00999 freely available EZB journals
subjects fingering and gesture tablature
Guqin（'gu' = old
'qin' = a seven-stringed musical instrument）
Ming and Qing period
musical image
the handbook of Chinese Guqin
古琴
指法手勢圖
明清時期
樂象
琴譜
title 明清古琴譜中「指法手勢圖」的樂象意涵
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