当代中国民族器乐作品中“线条”的作用——以弹拨乐器古筝、琵琶作品为例  

The Roles of Lines in the Works of Traditional Chinese Musical Instruments with Works of Guzheng and Pipa as Examples

作　　者：刘明清[1] LIU Mingqing(School of Music,Neijiang Normal University,Neijiang,Sichuan 641100,China)

机构地区：[1]内江师范学院音乐学院,四川内江641100

出　　处：《内江师范学院学报》2024年第5期106-111,共6页Journal of Neijiang Normal University

摘　　要：精确有效地记录各乐器的演奏技法、音色、思维、肢体动作等已经逐渐成为作曲家、音乐家们亟待解决的重要问题之一。在作曲家们不断地尝试的过程中,图形、文字等结合五线谱的表达方式,成了记录中国传统乐器的一种主要方式。而曲线、直线和虚线,无论是作为独立的记号存在,还是作为构成图形的素材,在中国古代记谱法系统、西方记谱法等体系中,都发挥着极其重要的作用。It has gradually become one of the important issues that the playing techniques,timbre of various musical instruments and the mindset,and physical movements of their players are documented accurately and effectively.These issues need to be urgently addressed by composers and musicians.In the process of continuous exploration by composers,the combination of graphics,words,and the traditional Western staff notation has become a primary means of recording the playing of traditional Chinese instruments.Curves,straight lines,and dotted lines,whether as independent symbols or as materials constituting graphics,play a vital role not only in ancient Chinese notation systems but also in the Western notation systems,and in other ones.

关 键 词：线条 直线 曲线 虚线 中国传统乐器 记谱法 

分 类 号：J61[艺术—音乐]