郭沔与南宋浙派琴文化  

Guo Mian and Zhejiang School's Peptachord Culture in the South Dynasty

作　　者：刘顺[1] 姚尚新[2] 

机构地区：[1]温州大学音乐学院 [2]杭州师范大学钱江学院艺术系

出　　处：《浙江艺术职业学院学报》2010年第3期22-25,共4页Journal of Zhejiang Vocational Academy of Art

基　　金：2010年度温州文化研究工程第五批立项课题"温州音乐历史研究中的区域性特征"成果(项目编号:Wyk10081)

摘　　要：浙派是宋明之际最主要的琴派。南宋"浙派"形成的过程中,有三个至关重要的因素:其一,宋以前古琴文化的不断积累;其二,两宋以来琴文化的高度发展及郭沔高超的古琴造诣与号召力;其三,以"永嘉学派"为核心思想的瓯越本土文化的滋养。本文旨在探讨"浙派"奠基人郭沔、"浙派"琴文化风格的形成与瓯越文化三者之间的渊源关系。Zhejiang school was the major peptachord school in the Song and Ming dynasties.There were three key factors in the formation of Zhejiang School in the South Song dynasty.The first one of them was the continuous accumulation of peptachord culture before the Song dynasty.The second one was the highly developed peptachord culture and Guo Mian's Superb skill and his rallying point.The third one was OuYue native culture which took Yongjia School's opinion as its core idea.The paper aims at discussing Guo Mian who was the founder of Zhejiang School,the peptachord culture of Zhejiang School and the OuYue culture,as well as the relationship among them.

关 键 词：南宋 浙派 古琴文化 School 渊源关系 永嘉学派 文化风格 宋明之际 瓯越文化 核心思想 本土文化 奠基人 两宋 过程 

分 类 号：J[艺术]