【作者】 汪莹；

【导师】 曲云；

【作者基本信息】 陕西师范大学 ， 音乐学， 2004， 硕士

【摘要】 山东传统筝乐艺术源远流长，但是专门针对山东传统筝乐的研究论著却相对较少，特别是关于上古及中古时期的山东传统筝乐的历史很少有人触及。本文以“山东传统筝乐”作为研究对象，从山东的地理、历史、文化等方面入手，运用多学科相渗透的方法和原则，在查阅、搜集和整理相关文献资料的基础上，对山东传统筝乐艺术的源流、发展、形态和风格等都作了认真的思考，并形成了作者独到的一些观点，期望能以此文抛砖引玉，对推动山东传统筝乐的研究起到一定的积极作用。 本文共分四个部分： 第一部分，简要介绍了山东的地理概貌、历史沿革以及源远流长的古筝艺术，重点突出了山东传统筝乐艺术在山东的地区分布。 第二部分，该部分是本文的核心部分。作者用历史发展的眼光，分四个阶段，对山东传统筝乐的流传、发展情况以及山东筝派的形成及其特点都进行了认真研究和深入探讨。首先，通过查阅、考证《战国策·齐策》和剧本《桃花扇》等古典著述中有关春秋战国时期山东传统筝乐的记载情况，以及在认真探讨和分析“筝筑同源”的观点和山东滕县出土的有关筝的汉画像石等的基础上，结合大量的历史史实和相关的音乐理论，作者得出至少在西汉末东汉初，筝已在山东广为流传的结论；其次，作者搜集、整理并研究了从三国时期到宋元时期有关山东传统筝乐方面的历史人物和史料文献，认为这个阶段在一定意义上来说是山东传统筝乐的缓慢发展时期：再次，关于山东传统筝乐在明清时期的发展情况，作者从以下三个方面进行了认真探讨：第一，从明清时期山东的政治、经济、文化和民间音乐的发展情况入手，论述了山东传统筝乐繁荣发展的历史文化背景：第二，介绍了明朝山东章丘人李开先及其诗词中有关筝的弹奏、交流情况，作者认为在明代山东传统筝乐与秦筝的交流已经非常频繁；第三，认真查阅了《聊斋志异》、《金瓶梅》等明清小说中关于明清时期山东传统筝乐的记载，特别是对《金瓶梅》中涉及到的山东筝乐，从乐伎、乐曲、演奏形式等方面都作了较为细致周到的分析和研讨；最后，论述了山东筝派的确立和形成情况，运用比较研究等方法对山东传统筝乐文化及其筝的形制与特点作了介绍。综上所述，作者认为：筝在山东有着悠久的历史。山东筝派在长期的流传和发展过程中逐步形成了自己特有的传承体系、独具风格的乐曲和演奏技法等，成为中国古筝艺术中的重要派别之一。 第三部分，对山东传统筝曲进行了形态方面的探讨和研究。首先，概述了山东传统筝曲曲体的两大组成部分，即“大板曲”和“小板曲”。其次，分别对“大板曲”和“小板曲”的曲式结构作了分析，重点分析了“八板曲体”的大板曲，介绍了“花字工尺谱”，并举例说明了山东传统筝曲在“单八板”和“双八板”两首母曲基础上的演变。对丝弦合奏“碰八板”的曲式结构也作了研究和论述。第三，对山东传统筝曲的音阶调式和旋律节奏特征及山东筝派在发展过程中与其它筝派的交流等情况，进行了对比、分析和研究。最后，分析了山东筝派在传承过程中存在的共性演奏技法，重点阐述了右手大指的使用。 第四部分，从山东筝派的代表性演奏家、山东的地理环境、齐鲁文化和山东方言等四个方面入手，讨论了山东筝派的演奏风格及其与以上四个方面的关系。其中在筝乐演奏家一节中还重点论述了山东筝派的师承关系、代表性演奏家的演奏风格、审美取向及其对流派发展的贡献。更多还原

【Abstract】 Shandong Zheng, one of the famous Schools of Chinese traditional art Zheng, goes back to ancient times. However, there aren’t many monographs in view of the research in this respect, especially the history of Shandong Zheng in ancient times and middle ancient times. On the basis of study on Shandonls geography, history, culture, etc., by means of utilizing comprehensively many subjects, this article clearly and deeply studies Shandong Zheng’s origin, pattern and style, etc. The author has her own thought on the subject and expects that her study may lead to more valuable opinions by which the research on Shandong Zheng can be promoted to some extent.This article is composed of four parts:Part 1, Shandon’s geography survey, history and long- developed Zheng art are introduced. And the important history position of Shandong Zheng is emphasized here.Part 2, In retrospect of history, the author study conscientiously the spread of traditional Shandong Zheng art in four stages. Firstly, some records about Zheng in Zhanguo ce. Qice, The Peach Blossom Fan and some pictures carved on stone in Han Dynasty reveal that at the period from the end of Western Han to the beginning of Eastern Han, Zheng Art might had been spreading in Shandong. The viewpoint that Zheng and Zhu has the same origin may also give us the above conclusion; Secondly, some relevant historical figures and documental materials from San Guo period to Song & Yuan Dynasties put in order here. The author considers it as the slow development stage of Shandong Zheng art; Thirdly, the author holds that it is a prosperous stage of Shandong Zheng art in the Ming & Qing Dynasties. The author illustrates the above viewpoint in three aspects: 1) the history culture background of Shandong Zheng’s development in the Ming & Qing Dynasties, 2) analysing the art exchange between Shandong Zheng and Qin Zheng according to poems of Li Kaixian from Zhangqiu, Shandong in the Ming & Qing Dynasties, 3) studying some tales with documents about Shandong Zheng art written in the Ming & Qing Dynasties, such as Strange Fales From Make-Do Studio and Jin Ping Mei etc., 4), discussing the establishment of Shandong Zheng, a school of traditional Chinese Zheng art. In short, the author’s mainly standpoint is as follows: Shandong Zheng as one of the important schools of Zheng hasa long history, itself system, a set of characteristic playing skills, a plenty of unique style music, and been spreading here and there.Part 3, Some traditional Shandong Zheng music studied and analysed here. Firstly, the author summarizes two parts of traditional Shandong Zheng music i.e. Da Ban Qu and Xiao Ban Qu. Secondly, structures of the above mentioned two kinds of music are introduced, especially the formerly. Gongche Pu, Peng Ba Ban with instrumental ensemble in silk & string are also introduced and analysed. Single Ba Ban and Double Ba Ban are considered as mother of traditional Zheng music in Shandong by the author with examples. Thirdly, scale mode, features of melody and rhythm of traditional Zheng music are also analysed here .It proves that as a school of Zheng art, Shandong Zheng has been communicating with other schools during its development. At last, some common playing skills of Shandong Zheng art during its spreading are analysed by the author, the skill of thumb emphasized.Part 4, The playing style of Shandong Zheng art is discussed here in the following four aspects: Shandon’s geographic condition, dialect, Qi & Lu Culture and representative players of Shandon Zheng art. The relationship between the above-mentioned four aspects is discussed also. Some representative players’ style and their contribution are introduced. The relationship of teacher- student is mainly mentioned.更多还原