论郭沔的音乐思想及琴曲的艺术构思  

On Guo Mian's Music Thoughts and Artistic Conception for Composing

作　　者：孙亚琼[1] 陈四海[1] 

机构地区：[1]陕西师范大学音乐学院,陕西西安710062

出　　处：《太原师范学院学报（社会科学版）》2015年第6期107-111,共5页Journal of Taiyuan Normal University:Social Science Edition

摘　　要：南宋末年著名琴家、浙派创始人郭沔,吸收京师、江西两派刚劲、纤丽的特点,在继承"蔡氏五弄"传统琴曲风格的基础上,注重创作新声,形成了自己的风格。在当时内忧外患的形势下,涌现出了一批"先天下之忧而忧,后天下之乐而乐"的爱国琴人。这一时期学术思想也极为活跃,形成了"儒道杂糅"的音乐思想。他的琴曲作品《潇湘水云》就是这种思想的集中体现。Guo Mian, famous music player and founder of Zhejiang school at the end of South Song Dynasty,having combined the vigorous and subtle characteristics of the schools of capital city and Jiangxi, and inheriting traditional style of ＂Cai＇s Five Tunes＂, formed his own style in creating new melodies. At the situation of internal disorder and foreign invasions, a batch of patriotic music player sprang up, who were deeply concerned about the future of the nation. That was also a period of very active academic thoughts, forming the music thoughts mixing Confucianism and Taoism. Guo Mian＇s musical work ＂Xiaoxiang Shuiyun＂ reflects these thoughts concentratedly.

关 键 词：郭沔 乐教 音乐思想 浙派 潇湘水云 

分 类 号：J609.2[艺术—音乐]