兩首琵琶作品《彼岸花》、《點》之演奏分析與探討

文化大學機構典藏 CCUR > 藝術學院 > 中國音樂學系 > 博碩士論文 > Item 987654321/51820

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Title:	兩首琵琶作品《彼岸花》、《點》之演奏分析與探討
Authors:	楊喨予
Contributors:	中國音樂學系
Keywords:	吳玉翔陳怡《彼岸花》《點》
Date:	2022
Issue Date:	2023-03-23 15:41:31 (UTC+8)
Abstract:	琵琶作為中國傳統彈撥樂器，隨著演奏方式的改良與項、品的增加，為其帶來多變的演奏技法與豐富的音樂表現力。時至今日，許多作曲家開始將各種作曲理論應用在琵琶之上，使音樂內容突破了調性的框架，有了不同於琵琶傳統曲目的審美觀念。吳玉翔《彼岸花》根據佛教經典中花妖與葉妖的故事，描述兩人從分離到相遇，到最後與命運對抗的過程，樂曲當中以不同演奏手法塑造角色，透過音組的變化推進故事情節。陳怡《點》以多段體呈現書法中「永字八法」的筆勢，以無調性的寫作同時除去了拍號的限制，以琵琶點狀的發聲方式詮釋書法中各種不同的起筆，將西方作曲技法與中國傳統文化融為一體。本文針對兩首曲目進行分析與詮釋。透過論文與期刊等資料蒐集，結合筆者的分析進行兩首曲目的曲式結構、速度與演奏技法等方面的整理，同時根據兩首樂曲的創作背景與曲意內容進行演奏詮釋，最後歸納以上的論點做總結。 As a traditional Chinese plucked instrued instrument, the pipa has been improved and the number of frets has increased, bringing with it a wide variety of performance techniques and rich musical expression. Today, many composers have begun to apply various compositional theories to the pipa, allowing the musical content to break through the tonal framework and take on an aesthetic concept different from the traditional repertoire of the pipa. Yu-Xiang Wu "Manjusaka" is based on the story of the flower demon and the leaf demon from the Buddhist classics, describing the process of separation, meeting and finally confronting fate.Yi Chen "The Points" is a multi-part performance of the calligraphy "eight techniques of Yong", written in a toneless manner while removing various strokes of calligraphy, integrating Western compositional techniques with traditional Chinese culture. This paper analyzes and interprets two pieces of music. Through the collection of papers and journals, the authors’s analysis is combined with the arrangement of the two pieces in terms of structure, tempo and performance techniques.
Appears in Collections:	[中國音樂學系] 博碩士論文

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