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作 者:张振涛[1] Zhang Zhentao
机构地区:[1]南京艺术学院音乐学院
出 处:《中国音乐》2024年第6期5-15,共11页Chinese Music
摘 要:20世纪中国音乐取得的巨大成就与百年间的巨量记谱和整理出版不无关系。《阿炳曲集》、五大“集成”、《琴曲集成》,均可视为划时代的大事,它们是中国音乐的压舱石,也是中国音乐走进现代的标志性文本。从木卡姆、南音、西安鼓乐、冀中笙管等传统乐种的记谱与刊印个案,不难看到观念转变。“集成”时代,工尺不收,律吕不入;“大典”时代,抄本尽录,典籍尽藏。收录传统乐谱的编辑主旨是对百年间不但无视其存在且无视其价值的状况的最大矫正。当前音乐界的出版文本,多采用工尺谱、减字谱与五线谱、简谱对照样式,呈现出音乐学的新追求。古今交汇,中西融通,既合乎历史延续,也符合世界视野,为乐谱学提供了新样本。《中国音乐大典·乐谱编》必将成为一部具有重要参考价值的工具书。The significant achievements in Chinese music in the 20th century are closely related to the vast amount of music notation and compilation published over the century.Collections like Ah Bing's Compositions,the five major"Anthologies",and the Collection of Qin Music can be regarded as epoch-making milestones.They serve as both the cornerstone and the symbolic texts representing the transition of Chinese music into modernity.Through the notation and publication of traditional music genres such as Muqam,Nanyin,Xi'an Drum Music,and Jizhong Sheng(a type of reed-pipe instrument)music,it's evident that there has been a shift in conceptual thinking.During the era of the"Anthologies",the Gongche notation was excluded,and the Chinese pitch system was omitted;whereas in the era of"Classics",all manuscripts were recorded,and all canonical texts were stored.The editorial aim of including traditional scores in these compilations is to correct a century-long neglect of their existence and value.Current publications in the music field often juxtapose Gongche notation,Jianzi notation with Western staff notation,and Jianpu(simplified)notation,reflecting the new pursuits in musicology.As the ancient meets the contemporary and Chinese traditions blend with Western ideas,it aligns with historical continuity and the global perspective,offering new samples for the study of music notation.Chinese Music Classics Compilation of Scores is destined to become an invaluable reference tool.
关 键 词:《中国音乐大典·乐谱编》 乐谱学 记谱 谱式
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