| 摘要: | 箏族樂器種類繁多，中、日、韓、越等國家的箏類樂器型制相近，都源自唐代以後逐漸定型的古箏。隨著時間與歷史的腳步，箏已發展成為亞洲國家中極具代表性的傳統樂器，其富有強烈的民族色彩及豐富的表現力，同時具備高度的可塑性。本文將以樊慰慈所改編的兩首琴曲《廣陵散》、《流水》做為研究主題，進而針對古琴語彙融入箏的音樂織體加以探討，分析如何將古琴的吟、猱、綽、注、撞、進復、退復等技巧及琴曲多樣化的音樂特性和寬廣的音域，豐富箏樂的整體表現。此外，筆者試圖尋找兩者異同之細節，進而凸顯古箏本身的傳統韻味及聲響，品味質樸之美。
《廣陵散》，改編者樊慰慈以明代初年古琴譜集成《神奇秘譜》為本，並參考管平湖的打譜及歷史錄音。原曲敘述戰國時期聶政刺韓王的故事，但不同於歷史故事的是，改編曲則將焦點放在聶政其姊聶榮身上，深刻的刻畫出聶榮挺身認屍而隨之赴義的動人故事。《流水》則以《天聞閣琴譜》為本，參考管平湖的打譜及歷史錄音進行改編，描繪樂曲虛、實意象。改編者樊慰慈將古琴寬廣的音域及豐富的音色變化，透過26絃箏來運用表現，以大跳旋律和複雜的泛音、按音交替，交織出富有音色變化的立體聲響。
在演奏手法上，改編者樊慰慈以真甲演奏，而筆者則使用內戴的義甲演奏，雖然兩者在技巧使用上不盡相同，但筆者仍盡可能尋找合適的指法並且保留琴曲的演奏手法，例如泛音的指法等。在左手的按放音中，因古琴的音程較廣，在箏上會使用連續的按音來呈現並延續旋律進行，也會出現古琴的走手音，力求模仿古琴的音色，表現於箏樂上，將琴與箏的特色相互結合，呈現豐富的表現力。
There is a wide variety of zithers in various East Asian countries, e.g. China, Japan, Korea, and Vietnam, all of which are closely related to the Zheng (箏) which was gradually standardized after the Tang Dynasty. Throughout the history, Zheng has been evolved into a representative traditional instrument in Asian countries, characterized by its prominent music timbre and expressive richness, along with a high degree of plasticity. This paper takes the two Qin works Guanglingsan and Liushui, arranged for Zheng by Fan Wei-Tsu , as the research subject. It further explores the integration of ancient Qin idioms into the musical texture of Zheng, analyzing how techniques and diverse musical characteristics of Qin, such as “yin, nao, chuo, zhu, zhuang, jin fu, tui fu,” and its wide tonal range, can enrich the overall expression of Zheng music. Moreover, the author attempts to explore the similarities and differences between the two instruments, thus highlighting the traditional charm and resonance of the Zheng, and appreciating the beauty of simplicity.
Fan Wei-Tsu’s Zheng arrangement of Guanglingsan was based on the early Ming Dynasty collection of Qin music Esoteric Anthology of Music Marvels, with reference to Qin virtuoso Guan Pinghu's interpretation in a historical recording. While the original piece narrates the epic story of Nie Zheng assassinating the King of Han during the Warring States Period, Fan’s arrangement focuses on the climax when Nie Rong, Nie Zheng's sister, came out identifying her brother's body and subsequently following him in death. Derived from the Tienwenge Qinpu, Fan’s Zheng arrangement of Liushui also references Guan Pinghu's interpretation in a historical recording, portraying the music's emptiness and reality. Fan Wei-Tsu exploited the rich tonal variations and wide tonal range of the Qin on the 26-stringed Zheng, using such techniques as wide skips and complicated overtones, alternating with variegated portamenti, to weave a stereophonic sound rich in tonal variations.
In terms of fingerings, while Fan Wei-Tsu performs with his own nails on Zheng just like most Qin players, this author performs with artificial nails, albeit their use of techniques may differ. Nevertheless, the author sought to adapt alternative fingerings while preserving the playing quality true to the Qin piece as much as possible. In the pressing and releasing of tones on the left hand, due to the wider intervals of Qin, continuous pressed notes are used on Zheng to maintain and extend the melodies. Imitations of Qin's transferring notes also appear, aiming to mimic the Qin's tone and express it on the Zheng. This author believes that such combination of the characteristics of both the Qin and Zheng would presenting a rich expressiveness. |
