【作者】 陈婧雅；

【导师】 张振涛；

【作者基本信息】 中国艺术研究院 ， 音乐学， 2010， 硕士

【摘要】 20世纪50年代始,中国艺术研究院音乐研究所与北京古琴研究会对于古琴事业的积极努力为现代琴学的发展奠定了重要的基础。以1956年的全国古琴普查活动为标志,他们共同开启了我国琴学发展的新历程,改变了近代琴坛奄奄一息的局面。他们积极的联络全国各地的琴人,以学识为重,在短短的十余年间发掘整理了大量的古琴曲目和琴学著作,为琴坛的发展营造了良好的学术氛围,继承发扬了蕴含我国悠久历史文明的琴学“传统”,给后来人以激励。本文的研究对象是我国现代音乐史上著名的古琴演奏家、民族音乐学家——王迪。王迪自幼习琴,师从古琴大师管平湖先生,深得真传。她自中央音乐学院作曲系毕业后,在中国艺术研究院民族音乐研究所从事古琴研究工作近40年,全心协助管平湖的琴学研究工作10余年,全面继承了“九嶷派”的演奏风格和技艺,成功总结完善了管平湖的琴学遗产,为确立“管派”的琴坛地位,为推广古琴艺术贡献了毕生精力和技艺。王迪直接参与传统琴曲打谱、记谱和研究,与管平湖一起编辑琴学论著《古指法考》,参加古琴会各类活动和演出,亲历1956年古琴普查工作,抢救濒临失传的古琴艺术。王迪还曾多次参加民间音乐采访调查,记录了详实而真确的材料,其中代表性的活动有对智化寺京音乐的发掘和整理。20世纪70年代以后,王迪定谱琴歌上百首,在古琴打谱、指法考证、琴律、琴歌研究等多方面取得了瞩目的成就,特别是在传承、研究、普及琴歌方面作出了重要的贡献,为后人留下了宝贵的艺术资料。王迪的工作承上启下,王迪的人生执着勤奋,王迪是我国培养的第一代专业民族音乐研究学者,她为古琴艺术继而民族音乐研究工作奉献了一生。本文主要由“王迪的琴学活动概述”、“传统琴曲、琴歌的挖掘与整理”和“在中国传统音乐领域的贡献”3部分组成。首先,概括叙述王迪的师承和琴学活动,并将其与历史背景、群体活动相联系,对现代琴家王迪形成一个较为全面的角色认知和定位；然后,对王迪个人的琴学研究理论做详细地梳理、分析、总结和归纳；最后,回顾研究对象本身,对王迪在近现代琴乐以及传统音乐研究领域的贡献做出较为客观的历史评价。更多还原

【Abstract】 At the beginning of 1950s, the active efforts made together on Guqin by China Arts Research Academy and Beijing Qin Research Association has laid solid foundation for modern Qin study. Their nationwide census on Guqin (a seven-stringed plucked instrument in some ways similar to the zither) in 1956 initiates the new development of Qin study in China, which completely ends the desperate situation of Qin circle in modern times. During the short years between 1954 and 1967, they actively communicated with artists playing Qin from all over the country. As a result, large quantities of Gu Qin chants and works are collected and sorted out, thus creating a stimulating academic atmosphere and inheriting the tradition of Qin study which embodies the ancient historical civilization of China.The research subject of the article is Wang Di, a famous Guqin artist and folk musician in Chinese contemporary music history., is a disciple of Guan Pinghu, as well as an important researcher in Beijing Qin Research Association. Since childhood, Wang Di has begun to study playing Guqin under the guidance of Guan Pinghu, a Guqin master which helps her inherit his playing skills. After her graduation from the Composition Department of Central Conservatory of Music, She works on Guqin research for nearly 40 years in Folk Music Research Institute of China Arts Research Academy, with 10 years devoted to assisting Guan Pinghu with research on Qin study. She not only inherits the playing style and skills of "Jiu Yi" and successfully summarizes the Qin Study heritage of Guan Pinghu, but also devotes all her life to establish the status of "Guan" in Qin Circle and to spread Guqin art.She personally participated in composition, wrote down music, done the researche on folk Qin chants, edited the Qin Study works "Guzhi Fakao" together with her master and get involved in all kinds of activities and performances. Actively involved in the nationwide census on Gu Qin in 1956, she excavates large quantities of Guqin chants, rescuing the Guqin art from being distinct. Besides, she frequently participated in interviews or investigations into folk music, and detailed and first-hand materials were recorded. Among these the most representative work is her participation in the excavation of Zhihuasijing music. After 1970s, by composing hundreds of Qin chants, Wang Di makes outstanding achievements in aspects such as Guqin composition, fingering archeology, studies on the rhythm and chants of Guqin and so on. Great contributions are made in inheriting, studying and popularizing Qin chants, and precious artists materials are reserved for the following generations. After all, with her perseverance attitude, Wang Di has devoted all her life into Guqin arts and folk music researches, as one of the first generation of professional folk music researchers since the People’s Republic of China was build in 1949.Made up of three parts, namely "The general introduction of Wang Di’s research activities on Qin Study" "The excavation of traditional Qin chants" and "The contributions to Chinese traditional music", the article first records the learning process and artistic activities of Wang Di, then analyzes and summarizes her research theories on Qin Study, and finally try to makes an objective history evaluation on Wang Di’s contributions on contemporary Qin music and folk music research.更多还原