| 摘要: | 節奏與曲調之間關係密切不可分割，是音樂最基本要素之一，對節奏有深入體驗能深化音樂的藝術表現力。
箏樂隨時代演變，1980年代起的創作曲節奏運用豐富，使風格迥異以往。古箏自秦代到現今已有兩千多年的歷史，不過在節奏部分有系統性、全面性的討論則比較缺乏，希望藉此研究能更深入的思考從傳統箏曲到現代箏曲節奏的運用。
本論文共分為五章：
第一章為研究動機、研究目的、研究範圍、文獻回顧等說明。
第二章為傳統箏樂節奏發展之類型。筆者將這段時期分為傳統期和蛻變期。傳統期分別以山東箏、河南箏為北派；潮州箏、廣東客家箏為南派。民間樂曲很多都是即興性演奏，統計其節奏類型雖然不足以涵蓋全貌，但也可以瞭解梗概。蛻變期則分別說明中國大陸、台灣地區創作箏曲，各選擇較著名之曲目進行節奏統計及整理。
第三章對應用傳統節奏手法之箏曲分析與詮釋。為筆者箏樂演奏會曲目中使用傳統節奏手法之曲目，進行樂曲分析、演奏詮釋，及節奏分析表。
第四章對應用現代節奏手法之箏曲分析與詮釋。筆者以樂曲分析、演奏詮釋、節奏分析這三部份進行討論，範圍包含筆者箏樂演奏會中運用現代節奏手法之曲目：錢善華《系列Ⅳ-箏》、陶一陌《風之獵》、馬水龍《尋》。
第五章為本文結論，試圖歸納各時期箏曲中節奏的脈絡動向。
One of the most fundamental elements of music is the close and entwined relationship between rhythm and melody; hence, having a deep understanding of rhythm naturally leads to a more profound artistic expression of music.
Zheng music has undergone many changes throughout its history, but since the 1980s, compositions of zheng music have shown an abundant use of various types of rhythms, causing the style to differ dramatically from that of former times. Today zheng music boasts a history of over two thousand years since its formation during the Qin Dynasty, but there has been a lack of a systematic and integral discussion on the rhythmic aspects of the music. It is hoped that this study can provide deeper insights on the application of various rhythms in traditional and modern zheng compositions.
This thesis is divided into five chapters:
Chapter 1 includes the study motive, purpose, scope, and bibliography review.
Chapter 2 explores the types of development of rhythm in traditional zheng music . The author has divided the history of its development into a “traditional period” and a “transformation period.” The traditional period is further categorized into the northern school which consists of Shandong and Henan zheng music, and the southern school which consists of Chaozhou and Guangdong Hakka zheng music. As most folk zheng music is based on improvisation, categorizing all the types of rhythms is beyond the scope of this paper, but nevertheless it provides a broad outline of the subject. The transformation period discusses zheng compositions from China and Taiwan and well-known compositions are selected from both places to highlight their rhythmic differences.
In Chapter 3, the author draws on zheng composition analysis and the interpretation of traditional rhythms and applies them to compositions that use these traditional rhythms in the author’s concert program to carry out musical analysis, performance annotation, and rhythmic analysis of these pieces.
In Chapter 4, the author discusses the following three topics: musical analysis, performance annotation and rhythmic analysis. The chapter also includes some compositions from the author’s concert programme that utilize modern rhythmic practices, such as Qian Shanhua’s “Series IV-Zheng”, Tao Yimo’s “Hunt in the Wind” and Ma Shuilong’s “Searching”.
Chapter 5 brings this thesis to its conclusion, thus clarifying the different trends of rhythm found in zheng compositions of various periods. |
