吴文光琴乐述作观探微--以琴曲《秋鸿》为例  

An Exploration on Wu Wenguang's Music Creation:Taking Qin Music Qiu Hong as an Example

作　　者：王晔[1] WANG Ye(School of Music,Huaibei Normal University,Huaibei Anhui 235000,China)

机构地区：[1]淮北师范大学音乐学院,安徽淮北235000

出　　处：《铜陵学院学报》2023年第5期82-85,108,共5页Journal of Tongling University

基　　金：安徽省哲学社会科学规划青年项目“安徽古琴音乐文化的历史与传承研究”(AHSKQ2020D163)。

摘　　要：近代古琴大师吴文光先生在古琴演奏、古琴改编创作及古琴理论方面都有很高建树,在晚年时形成了自身琴乐的“述作观”。文章以琴曲《秋鸿》为例,通过对吴文光琴乐“述作观”的两个层次“打谱性阐释”与“化成性阐释”进行理论阐释,并对《秋鸿》在打谱层次与管弦乐改编层次所体现不同的内涵、意象和理念进行分析,进而说明吴文光当代琴乐理论的学理构建:将中国传统琴乐符号在当代进行重建,形成对琴乐传统的继承、创新及现代化的完型转化。Modern Guqin master Wu Wenguang made great achievements in Guqin performance,Guqin recompose,and Guqin theory.In his later years,he formed his own"composition view"of Guqin music.Taking Qiu Hong as an example,this paper makes a theoretical explanation of Wu Wenguang's"creation view"of Qin music,and analyzes the different between"Guqin recompose write music interpretation"and"integrative interpretation"embodied in Qiu Hong at the write music level and the orchestral recomposition level,and then explains Wu Wenguang's theoretical construction of contemporary Qin music theory:having the traditional Chinese qin music symbols reconstructed in contemporary timesand,having completed the inheritance,innovation,and modernization transformation of traditional qin music.

关 键 词：吴文光 琴乐“述作观” 打谱性阐释 化成性阐释 

分 类 号：J604[艺术—音乐]