【作者】 陈钦怡；

【导师】 江明惇；

【作者基本信息】 上海音乐学院 ， 音乐学， 2009， 博士

【摘要】 王燕卿(1867—1921),名宾鲁,山东诸城琴人。民国六年(1917年)他与康有为一同南游,因琴艺精湛,受聘到南京高等师范传授古琴,是中国第一位进入大专院校授课的琴家,他在南京「梅庵」的琴学传承,因弹奏风格独特有新意,被当时琴界称呼为「梅庵琴派」。梅庵弟子所整理的王燕卿传谱《梅庵琴谱》,至今已有中文、英文、西班牙文等十几个版本,一个琴谱以不同的面貌发行这麽多次,这也是古琴界自古以来绝无仅有之事。目前,梅庵传人遍佈世界各地,笔者即是台湾梅庵派第三代琴宗吴宗汉先生的再传弟子,王燕卿梅庵琴传的第五代传人,本着对祖师王燕卿先生的浓厚兴趣与情感,因而着手研究他的琴乐。本文由四章组成：王燕卿古琴薪传、王燕卿古琴传谱综述、王燕卿古琴传曲分析、王燕卿古琴艺术探微。第一章主要讲述王燕卿的琴学背景以及王燕卿在中国山东诸城、济南以及南京「梅庵」的古琴传承。第二章梳理王燕卿传承的传谱,包括未出版的手抄琴谱以及《梅庵琴谱》等十几个版本。第三章对王燕卿所传琴曲进行曲调的探源比较与音乐分析,主要内容：一、梳理其传曲与中国历代琴谱的琴曲中,同名同曲或同曲异名的联系。二、比较王燕卿早、中、晚期的传谱中琴曲内容的变化,从而观察他对所传琴乐在不同时期的改变与再创造。三、比较王燕卿传谱和山东地区琴谱之间的变化,找出其中的不同,并归纳其规律,从中探究王燕卿传谱与传曲的音乐特点。第四章对王燕卿古琴艺术作一统合的梳理,从王燕卿对传乐所要求与改动的变化,归纳整理其琴乐与演奏的特点,包括对演奏指法减字谱的记谱规范、乐曲节奏的规范、演奏手法技巧的统一、乐曲的创新与创作…等。从这些音乐与谱本的细微变化处引申,笔者尝试探讨王燕卿的琴学理念、琴乐演奏与风格特点、琴乐审美观以及他对中国琴道精神的实践与追求,并且论及他的弟子们对其琴学的继承与梅庵琴派形成的关系。本文在笔者演奏与教学的实践体验之下,通过自创结合五线谱与古琴减字谱的手抄对比谱,从两种谱式的对比,可以清楚王燕卿对其传谱所做的细微变化,再经由这些变化去认识王燕卿古琴音乐的真髓，最后将其古琴音乐作有系统的理论归纳与整理,发掘出许多琴界未曾发现的王燕卿琴乐传承的音乐特点,并感受到王燕卿有意识的在建构一琴学的理论框架,实践在他所传的琴乐中。本文运用中国传统音乐理论的音乐形态研究,去对近现代的琴界奇葩——王燕卿先生的传承琴乐做整体音乐的比较研究,这是笔者在本论文中花费最多心力的成果展现,希望这也能为中国的琴乐研究开辟一个新的视角。更多还原

【Abstract】 Wang Yanqing(1867-1921),named Binlu,is the Qin scholar of Zhucheng in Shandong province.He,together with Kang Youwei,made a trip in the southern areas in 1917.At that time, he was invited to teach in Nanjing Higher Normal School owing to his excellent Qin skills, and became the first Qin scholar who gave lectures in tertiary institution.Wang Yanqing’s Qin Inheritance in Nanjing was developed into Mei’an Qin School due to its special style and creative ideas.His "Mei’an tablature" collected by the Mei’an disciples has over ten versions altogether including English,Chinese, Spanish and so forth, which has never occurred before.The Mei’an successors are all over the world till now.The author is the disciple of Wu Zonghan who is the third generation of Taiwan Mei’an School and also the fifth generation successor of Wang Yanqing Mei’an School.The author is engaged in studying the Guqin Music because of her interest and respect to Wang Yanqing.This dissertation is combined with four chapters, that is the new story of Wang Yanqing’s Quqin, the summary of Wang Yanqing’s Quqin tablature, the analysis on Wang Yanqing’s Quqin melody and the art study on Wang Yanqing’s Guqin.Chapter one gives a summary on the background of Wang Yanqing and the inheritance of Mei’an Qin School in Zhucheng of Shangdong province, Jinan and Nanjing.Chapter two organizes the tablature spread by Wang Yanqing, including the handwritten copy which has not been published and the different versions of "Mei’an tablature".Chapter three makes a comparison between Wang Yanqing’s melody and makes the analysis of music. There have three main contents.To the start, the author gives the analysis on the connection between same name and melody or same melody and different name after organizing the melody of Chinese past generations and Wang Yanqing’s melody. Secondly, the author compares Wang Yanqing’s melody during the early, middle and late period in order to find the change and creation in different periods.Thirdly, the author compares the Wang Yanqing’s tablature and the tablature of Shandong province so as to find the music features of Wang Yanqing’s tablature according to the difference and rules.Chapter four makes a collection of the features of Wang Yanqing’s music and performance, including the notation norm of Jianzipu (减字谱) on fingering in Guqin playing,the melody norm,the perform technique and the melody creation etc.The author is trying to study the ideas, the features, the melody aesthetic and the practice on Chinese Guqin culture of Wang Yanqing.Moreover, the author makes a discussion on the successors and the Mei’an School.The author combines the handwritten copy of five-line staff with the Guqin Jizipu in order to find the slight difference made by Wang Yanqing on the basis of performance and teaching,and then to recognize the essence of Wang Yanqing’s Guqin music. Finally, the author makes a systemic classification to exploit some unknown features of Wang Yanqing’s melody and then find that Wang Yanqing applied his theory to the practice in the field of the Guqin inheritance.The author spends lots of time and energy on studying the music handed down by Wang Yanqing by applying the Chinese traditional theory of musical form with the hope that it will develop a new vision of Chinese Guqin music study.更多还原