琴、人、境的统合——琴歌艺术中“和”的技法观念阐释  

The Integration of Zither, Man and Atmosphere--Interpretation of the Concept of "Harmony" in the Art of Songs with Chinese Zither

作　　者：王爱国[1] 翟毅[1] WANG Aiguo;ZHAI Yi

机构地区：[1]苏州科技大学音乐学院,江苏苏州215009

出　　处：《淮南师范学院学报》2020年第1期112-116,共5页Journal of Huainan Normal University

基　　金：国家社科基金艺术学项目一般项目“中国古代琴论经典文本中的音乐表演观念阐释及当代意义研究”(16BD057)。

摘　　要：琴歌艺术中"和"的技法观念,讲求表演技艺中人、琴、境三者的相互适应、协调和统一。在琴学的历史文本中,诸多琴家对"和"的技法阐述即包含了古琴弹奏"和"感产生的基本美学要求,也涵盖了琴歌演唱中情感和谐的审美追求。在琴歌实践中,"和"之观念主要表现为演唱中"琴声"与"人声"互为补充、相互融合的协调关系。一般意义上,琴歌艺术中"和"的技法观念,可以理解为表演中人声主动与乐器相适应的器乐化融合原则,伴奏乐器主动与歌唱相协调的声乐化融合原则,以及人、琴、境三者相统合的统一性原则。The concept of "harmony" in the art of songs with Chinese zither emphasizes the mutual adaptation, coordination and unification of human, zither and atmosphere in the performing arts. In the historical texts on Chinese zither studies, the theory of techniques on "harmony" elaborated by many zither artists includes not only the basic aesthetic requirements for the sense of "harmony" produced by Chinese zither, but also the aesthetic pursuit of emotional harmony in singing the songs with Chinese zither. In practice, the concept of "harmony" is primarily manifested in the complementary relationship between "the sound of Chinese zither" and "human voice". In a general sense, the concept of "harmony" in the art of songs with Chinese zither can be understood as the principle of instrumental-music integration that the human voice initiatively adapts to the musical instrument in performance;the principle of vocal-music integration that the accompaniment musical instrument actively coordinates with singing as well as the principle of unification with the integrity of human, zither and atmosphere. It has certain implications on the contemporary performing art of vocal music.

关 键 词：琴歌艺术 “和” 观念 启示意义 阐释 

分 类 号：J601[艺术—音乐]