琵琶演奏的“音色库”系统与传统乐曲二度创作的互动——王范地琵琶演奏的神韵表达  

Pipa's"Timbre Bank"System:Its Interaction with Recreation of Traditional

作　　者：孙晨荟[1] Sun Chenhui

机构地区：[1]中国艺术研究院音乐研究所,北京100029

出　　处：《音乐艺术（上海音乐学院学报）》2024年第2期116-124,共9页Art of Music(Journal of the Shanghai Conservatory of Music)

摘　　要：在王范地的艺术理论与实践中,琵琶演奏的音色问题占有重要位置。作为传统音乐的坚定守护者,王范地长期致力于研究琵琶演奏弹音拨弦与虚化乐曲神韵之间的微妙关系,并力求能清晰阐述、明确表达及有效传授这一精髓。王范地将传统神韵的艺术风格表达划分为音律、行腔作韵、律动、音色、相生五个层面,其中音色为探讨重点。王范地不仅对演奏传统中尚未被充分细化的琵琶音色进行了深入研究,而且还进一步构建微观形态下的表演技术理论,以深化对音色的理解。在王范地的艺术理论体系中,音色被视为系统化“音色库”与传统乐曲二度创作之间的紧密相连介质,是构成其艺术理论中神韵表达的核心内涵。The timbre of pipa performance occupies an important position in Wang Fandi's artistic theory and practice.As a staunch guardian of traditional music,Wang Fandi has always been committed to studying the subtle relationship between the plucked strings of pipa performance and the virtual charm of the music,and striving to articulate,express and effectively transmit this essence.Wang Fandi divides the artistic style expression of traditional verve into five levels:temperament,rhyme,rhythm,timbre and mutual generation,among which timbre is the focus.Wang Fandi not only studied the timbre of pipa,which has not been sufficiently refined in the traditional performance,but also further constructed the theory of performance technology under the microscopic form to deepen the understanding of timbre.In Wang Fandi's theory system,timbre is regarded as systematic"timbre bank"The close connection with the re-creation of traditional music constitutes the core connotation of the expression of verve in his artistic theory.

关 键 词：王范地 琵琶演奏 “音色库”系统 二度创作 

分 类 号：J607[艺术—音乐] J632.33