缘声而现——“声音”视阈下的古琴指法“手势”  

Manifesting through Sound:The"Gestures"of Guqin Fingering from the Perspective of"Sound"

作　　者：林晨[1] Lin Chen

机构地区：[1]中国艺术研究院

出　　处：《中国音乐》2024年第5期95-106,共12页Chinese Music

摘　　要：古琴指法“手势”的记录,散见于历代指法说明与指法手势图中,其传统自汉初见端倪,唐赵耶利修订为手势谱并绘制成图,至宋已臻成熟。之前学者从不同视角强调手势图的价值,并探讨指法“手势”对于美学、演奏、传承的诸多意义,但未有研究者自“声音”角度理解古琴指法“手势”。本文将以理解声音设计,学习“声音设计师”的聆听方式作为切入点,以听觉感知作为起点阐释“缘身而现”的“声音”,以及“缘声而现”的“手势”,进而从“声音”角度揭示古琴指法“手势”之重要性,并借此反思指法“手势”之于古琴传承、现代技术之于理解“声音”的意义。The records of Guqin fingering"gestures"are scattered throughout various descriptions and illustrations of fingering techniques from different dynasties.Its tradition can be traced back to the early Han dynasty,with Tang dynasty musician Zhao Yeli revising and illustrating fingering scores,which reached maturity by the Song dynasty.Previous scholars have emphasized the value of these gesture diagrams from various perspectives and explored the aesthetic,performative,and transmissive significance of fingering"gestures."However,no research has yet understood Guqin fingering"gestures"from the perspective of"sound."This paper will use the understanding of sound design and the listening methods of"sound designers"as a starting point.It will explain the"sound"that manifests through physical movements and the"gestures"that manifest through sound,thereby revealing the importance of Guqin fingering"gestures"from the perspective of"sound."This approach will also reflect on the significance of fingering"gestures"in the transmission of Guqin and the role of modern technology in understanding"sound."

关 键 词：指法手势 蕴势 声音 古琴 

分 类 号：J609.2[艺术—音乐]