明代琴谱集考

【作者】 赵春婷；

【导师】 郑祖襄；

【作者基本信息】 中央音乐学院 ， 音乐学， 2010， 博士

【摘要】 本文是一篇隶属中国古代音乐史方向的博士学位论文,主要以断代史的研究方法对现存的35种明代琴谱集进行考证、研究。本文按明代琴谱集的刊印时间将其划分为四个时期,从琴谱集、琴谱集所辑琴曲、琴人琴派、琴论以及政治文化对琴乐的影响等五方面进行论述。全文根据琴谱集的发展脉络,共分四章进行论述：首先,在第一章“以《神奇秘谱》为代表的明代早期琴谱集”中,从明代早期刊印的五种琴谱集《神奇秘谱》、《五声琴谱》、《浙音释字琴谱》、《谢琳太古遗音》、《黄士达太古遗音》的版本、编辑者、序、跋、曲谱、曲前解题、小标题等方面进行了详细的考证工作,提出了“藩王辑谱派系”的概念,并加以论述；总结出：《神奇秘谱》在琴曲解题的撰写、辑曲的选择上都为后世提供了范例。其次,本文第二章主要论述了“浙派徐门”的琴谱集,对这一琴派所辑谱集、琴曲、编谱琴人、琴论做了较为详细的论述,将这一派“去文以存勾剔”的琴学主张与其所辑琴谱、琴曲相结合,印证了现存“浙派徐门”谱集《梧冈琴谱》、《琴谱正传》、《杏庄太音补遗》、《杏庄太音续谱》等四本谱集在编辑时基本遵循“去文以存勾剔”的琴学主张；这一时期的“藩王辑谱派系”谱集《风宣玄品》则开明代琴谱中兼收琴论的先河；《西麓堂琴统》以其收录琴曲170首、首刊琴曲72首、容纳14种外调琴曲等成为明代最为重要的琴谱集之一其中所见的一部分琴曲被证明是唐宋以来的琴曲；《太音传习》与《杏庄太音续谱》中的“曲必有吟”原则一致,后者很有可能是继承了前者。再次,万历年间是明代琴谱集刊印最多的时期,共计14种。其中,以万历年间兴起的“琴歌派”琴谱集最多,共计6种,这些谱集内主要以填词琴歌为主。而琴歌的曲调多是前面谱集内已出现的纯器乐琴曲,“琴歌派”的琴人将诗歌、辞赋“捍格”填入这些曲调中,使其难于演唱。这种做法源于明代早期琴谱集《浙音解字琴谱》,是明代琴人批评的对象。万历年间的“虞山派”创始人严澂在其《琴川谱汇序》一文中对当时一度风行的琴歌派所作的低劣的琴歌加以抨击,认为其违背了琴歌的传统。然而,“琴歌派”这种为大量琴曲补文并大胆创作做法,也使“琴歌派”在明代兴盛一时,对明代琴乐的发展也有一定的贡献,尤其是“琴歌派”新创作的琴歌,其数量和质量亦是明代新创作琴曲中较好的一部分,为后世研究明代琴歌创作提供范例；万历年间琴乐的繁荣发展的迹象也在皇宫内廷中有所体现。继嘉靖年间黄献《梧冈琴谱》之后,又有《玉梧琴谱》、《藏春坞琴谱》、《思齐堂琴谱》三本皇宫内廷谱集刊印于世,其中,《梧冈琴谱》、《玉梧琴谱》和《藏春坞琴谱》三本是明代太监所辑,他们的身份、择曲标准上有相似之处,而《思齐堂琴谱》是一本明后妃的自用谱本。通过对后三本谱集的研究可以发现,明代宫廷琴乐的发展与演变。此外,明代晚期是琴谱集刊刻的衰落期,今仅存6种,并且,这6种谱集在明代琴学史上总体价值和地位不高。这一时期的特点是,新兴琴派迭出“绍兴琴派”、“新安汪氏琴派”、“新琴歌派”等。其中,以尹晔为代表的“绍兴琴派”成为这一时期较为重要的琴派,其继承“虞山派”的琴学主张,主张发挥音乐本身的表现力,而不借助于文辞,尹氏所辑《徽言秘旨》也成为这一时期重要的谱集之一；“藩王辑谱派系”的最后一部谱集《古音正宗》亦刊刻于这一时期,其中所录的《雁落平沙》成为后世流传的琴曲,而这一琴曲有记载早在宋已流传,说明明代不同时期,琴乐的不同喜爱；“新琴歌派”是本文首次提出的,与万历年间的“琴歌派”相比较,“新琴歌派”在技法上更强调左手的演奏技法,器乐化更强,同时在歌词题材的选定上也由“琴歌派”的儒家思想内容转向道家、佛家思想内容。总之,本文力图通过对现存35种明代琴谱集的研究,全面而具体地对明一代琴谱集的发展做一总结,以断代史的研究方法,分析明一代琴谱集的特点、其对清代琴谱集的影响以及其在中国古代琴史上的地位与价值。更多还原

【Abstract】 This is an ancient Chinese musical history under the direction of the doctorate thesis, focuses on the history of dating methods in the existing 35 kinds of the Ming Dynasty set Score research. In this paper, the Ming Dynasty Score set by the time of its publication is divided into four periods:from the Score set, works, players, School of Qin, Qin theory and political culture on the impact of Qin music on five aspects. Score sets the text in accordance with the development of context for discussion is divided into four chapters:.ChapterⅠ:From the early Ming Dynasty, Score published five sets " Shenqi Mipu", "Wuyin Qinpu", "Zheyin shizi Qinpu", "Xielin taigu Yiyin","Huangshida taigu yiyin"of the version, edit, and sequence, travel, music scores, song before the problem-solving, subhead, such as detailed aspects of the research work of "Fanwang Jipu Paixi" concept, and discussed; summed up::In writing song of Guqin problem-solving and choice of music series, " Shenqi Mipu " has provided an example for future generations.ChapterⅡ:focuses on the "Xumen of Zhepai", The Score set by this series of spectra Guqin school set melody, Guoqin spectrum for people who do Guoqin on a more detail, the one group to text to keep " Quwen Yicun Gouti" of the Qin Xue. Score series and their advocates, Guqin piece combination of the existing evidence, "Wu gang Qinpu", "Qinpu zhengchuan", "Xingzhuang taiyin buyi" and "Xingzhuang taiyin xupu" and so set in four spectral editing to follow the " Quwen Yicun Gouti "of the Qin study stand;" Feng xuan xuan pin "has not only scores but also theory of Qin in the Ming Dynasty. "Xilutang Qintong" included 170 and in its first published 72,14 kinds of external accommodate become the most important of the Ming Dynasty Score one set, which saw part of pieces proved to be pieces since the Tang and Song Dynasties.ChapterⅢ:Score set is published in the Ming Dynasty period of " Wanli " period, up to a total of 14. Among them, the rise in "Wanli" period, "Qin Ge School" set up to Score a total of six kinds. However, Qin Ming criticized those included in the spectrum focused on low-quality sound of Qin。Cheng Yan, founder of the "Department of Qin Chuan spectrum sequence" of a text was popular at the time of the sound of Qin, poor to send them criticism that its contrary to the traditional sound of Qin. However, Scores of " Qin Ge School" fill such a large number of bold text and creative practice of " Qin Ge School" temporary prosperity in the Ming Dynasty, Ming-qin music on the development of a certain degree of contribution, in particular, " Qin Ge School" new creation sound of Qin, the quantity and quality is also a new creation in the Ming Dynasty in the better part of Scores for future generations. Through the studies of "Yuwu Qinpu", "Cangchuwu Qinpu", "Siqitang Qinpu" can be found in the Ming Dynasty court Guoqin the development and evolution of music.Chapter IV:In late Ming period was the decline of Score set period, this only six, and it set in six kinds of spectra Guoqin learn the history of the Ming Dynasty and the status of the overall value is not high. Characterized this period, emerging Guqin school occur repeatedly, for example "Shaoxing"、"Xingan wang"、"New Qin Ge pai "and so on. Among them, Ye Yin, represented in the "Shaoxing",it has become more important during this period, its successor"Yushan"ideas of the Qin study that claims to play music for their own performance, and not through the use of diction, "Huiyan mizhi"has also become important in this period;"Pingsha Luoyan" become popular work. generations, and this piece recorded as early as the Song has been to illustrate different periods of time People have different aesthetic orientation in the Ming Dynasty,更多还原