再探“伯特霍尔德·劳弗档案”中的《上海胡琴》  

Reinvestigation of“Shanghai Huqin”in the Berthold Laufer China Collection

作　　者：郭羿努 Guo Yinu

机构地区：[1]上海音乐学院,上海200031

出　　处：《音乐文化研究》2021年第2期135-145,M0004,M0005,共13页Music Culture Studies

摘　　要："劳弗特藏"中的中国录音资料保存了20世纪初期流存于中国的十余个乐种和多种方言的口头表现形式。为以往只能通过文字记载和乐谱去想象早期音乐的历史研究,提供了难得的研究当时民间音乐体裁形态,以及艺人之间的生存、行艺和流动关系的音频资料。本文围绕2020年《中国音乐》第二期发表金桥所撰《石破天惊二弦传奇——"伯特霍尔德·劳弗档案"胡琴演奏曲探析》一文所引发的讨论,通过对该胡琴曲的查证分析,讨论了"胡琴独奏曲"与"曲牌联缀"之间的关系。并深深感到:戏曲器乐曲牌或者说曲牌化的器乐思维,提供给我们的并不仅仅是一段旋律、一种节奏型或是一个发展动机,而是一个因叙事而来的中国传统音乐创作手法。因此,"石破天惊"的并不是我们听到胡琴独奏曲在近现代历史中被推至的时间维有多早,而是从新发现戏曲器乐曲牌的结构、旋律特征、连接手法的高度合理化、程式化、艺术化,发现以曲牌联缀为结构方式的"中国传统作曲技法"以及胡琴演奏技法的成熟度。the Berthold Laufer China Collection preserves over ten Chinese music genres and diverse dialects in Chinese oral tradition during the early twentieth century.This provides precious audio recordings for the study of Chinese folk music genres as the supplement to written records and music scores.Based on the discussion raised by Jin Qiao’s"The Legend of the Two-string Fiddle:An Exploration of Huqin Performance in the Berthold Laufer China Collection"published in Chinese Music in 2020,this article discusses the relationship between the solo piece and the qupai concatenation.It also argues that qupai or music instrumental thinking offers us not only a melody,a rhythmic pattern,or a motive,but also a traditional Chinese musical composition approach.Therefore,it is not about the time of the earliest solo piece recording but the art of the structure,melody feature and music development methods in instrumental qupai music,as well as traditional composition skills based on qupai concatenation and the maturity of huqin performance techniques.

关 键 词：“劳弗特藏” 《上海胡琴》 《拾玉镯》 胡琴独奏曲 曲牌联缀 

分 类 号：J607[艺术—音乐]