广陵琴学指法论探赜  

Exploration of Fingering Theory in Guangling Chin School

作　　者：徐靖松 程鹏源 Xu Jingsong;Cheng Pengyuan

机构地区：[1]南开大学哲学院,天津300353 [2]北京大学哲学院,北京100091

出　　处：《北方音乐》2024年第4期66-74,共9页Journal of the Northern Music

基　　金：教育部人文社会科学研究青年基金项目“明别集所见古琴文学文献整理与研究”(项目编号:22YJC751021)研究成果。

摘　　要：广陵琴学思想受清代“务实”学术风气的影响,对指法问题尤为重视。广陵琴学指法论一方面继承虞山琴学思想,一方面又呈现出自家风貌。在“技”与“道”的关系问题上,大多广陵琴人承认琴乐之“道”,但否定了前代琴论中“道”与“技”的对立关系,而是更加重视“技”的规范表达。相比于“技”与“道”的关系,“广陵五谱”序跋更倾向于讨论“技”与“意”或“心”的关系。可见,“广陵五谱”琴学思想的重心由乐教道统逐渐向琴人的主体个性转移,追求指法内容和形式的统一,这为广陵琴派指法细腻多变风格的基本走向奠定了理论基础。Influenced by the pragmatic idea in the academic atmosphere in Qing Dynasty,the Guan-gling Chin School focused its fingering,which inherited Yueshan School and showed its own fea-ture.Most musicians of Guangling Chin School incline the Tao when discuss its relationship with Ji[Technique]and deny their opposite that assert by the theory of previous dynasties,and emphasized more on the professional expression of Ji.The Preface of Five Ablum of Guangling Chin Music dis-cuss more about the relationship about the Ji and Yi[idea]or Xin[spirit]than the Tao.Therefore,the thinking core of the Chin theory is gradually shifted from teaching Taoism by music to the nurtur-ing personality of the player,and pursuing the unity of the content and form of fingering,which lays a theoretical foundation for the basic direction of the delicate and varied fingering style of the Guan-gling Chin School.

关 键 词：广陵琴派 指法论 尚“意” 细腻多变 

分 类 号：J60-06[艺术—音乐]