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Studies on Wang Yanqing's Guqin Music (Doctor Dissertation of Chen Ching-yi)

 

Abstract

Studies on Wang Yanqing's Contribution to Guqin Music

  Chen Chingyi

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.

Keywords : Wang Binlun, Wang Yanqing, Mei'an Music Tablature, Mei'an Melody, Mei'an Qin School, Guqin new Biography, Music Analysis, Melody Exploration, Musical Performance, Musical style, Musical aesthetic, Musical Spirit

 

王燕卿古琴音乐艺术

    陈钦怡 著

目    录

契而不舍水滴成穿 — 陈钦怡印象                      王安国

从细微处见音乐之真谛                          江明??

梅庵琴缘                                                        陈钦怡

第一章   王燕卿古琴薪传   ………………………………………………………………………1

   第一节   王燕卿的琴学背景   ………………………………………………………………………1

   第二节    王燕卿在山东的古琴薪传   ……………………………………………………………4

 一、山东诸城、济南的地理与历史人文背景   ………………………………………………5

(一) 山东诸城的地理与历史人文背景 ……………………………………………………5

(二) 山东济南的地理与历史人文背景 ……………………………………………………6

二、王燕卿在山东诸城、济南的古琴薪传   …………………………………………………7

(一) 山东诸城王燕卿家族的古琴传承 ……………………………………………………7

        * 山东诸城王燕卿家族的古琴传承脉络表……………………………………………10

(二) 山东地区的古琴传谱    ………………………………………………………………12

    第三节 王燕卿在南京 「梅庵」 的古琴薪传    …………………………………………………22

  一、 南京「梅庵」的地理与历史人文背景      ………………………………………………22

二、 王燕卿在南京「梅庵」的古琴薪传     …………………………………………………24

(一) 王燕卿在南京「梅庵」的古琴传承 …………………………………………………24

        * 王燕卿在南京「梅庵」的古琴传承脉络图…………………………………………26

(二) 王燕卿在南京「梅庵」的古琴传谱 …………………………………………………27

第二章    王燕卿古琴传谱综述   ……………………………………………………28

 第一节 王燕卿未出版的传谱 …………………………………………………………………   28

   一、王燕卿《龙吟馆琴谱》手抄谱(1916年前)…………………………………………    28

   二、王燕卿《琴学》手抄谱(1917-1921年) ……………………………………………… 30   

 第二节 王燕卿《梅庵琴谱》综览 …………………………………………………………… 32      

  一、《梅庵琴谱》徐立孙编订手稿(现藏於南通博物馆) ………………………………33

  二、《梅庵琴谱》1931年(第一版)   ………………………………………………………33

  三、《梅庵琴谱》1959年(第二版)   ………………………………………………………34

  四、《梅庵琴谱》1971年(香港版)    ……………………………………………………… 35

  五、《梅庵琴谱》1975年(台湾版)台北华正书局   ………………………………………36

  六、《梅庵琴谱》1977年(美国版)李伯曼先生博士论文   ………………………………37 

                      Lieberman, Fredric, The Chinese Long Zither Chin: A Study Based on the

                       Mei-an chin-pu. PhD dissertation, UCLA.1977   

   七、《梅庵琴谱》 1983年(美国、香港)英文版   香港中文大学     ………………………38                    

                       Lieberman, Fredric, A Chinese Zither Tutor: The Mei-An Chin-Pu .                         

                        University of Washington, Press.1983 。

  八 、 《 梅庵琴曲谱》 1983 年(南通版) 梅庵琴社     ……………………………………… 40

  九、 《梅庵琴 谱 》 1990 年( 台湾版 ) 台北华正书局     …………………………………… 41

  十、《梅庵琴谱》 1995年 (台湾版) 高雄梅庵琴社      ……………………………………42   

  十一、《梅庵琴谱》 2005年    北京中国书店        ……………………………………………43

  十二、《梅庵琴谱》 2008年   西班牙文版   …………………………………………………43

                    Joan M. Vigo “ Un Manual de Citara China. El Meian qinpu

   十三、《王燕卿古琴音乐研究》2009年 陈钦怡博士论文    ………………………………44

第三章    王燕卿古琴传曲音乐分析………………………………………………45

   第一节 黄?调琴曲    

   一、《关山月》………………………………………………………………………………48  

   二、《秋夜长》………………………………………………………………………………55    

   三、《长门怨》………………………………………………………………………………63     

        四、《平沙落雁》……………………………………………………………………………77

  五、《释谈章》………………………………………………………………………………93  

   第二节 林钟调琴曲

        一 、《秋风词》 ………………………………………………………………………………104

   二 、《凤求凰》 ………………………………………………………………………………111   

   三 、《风雷引》 ………………………………………………………………………………117

   四 、《秋江夜泊》……………………………………………………………………………126   

   五 、《搔首问天》 ……………………………………………………………………………134

 第三节 仲吕调琴曲

 一 、《极乐吟》    ……………………………………………………………………………163   

 二 、《玉楼春晓》    …………………………………………………………………………170  

 第四节 太簇调琴曲

 一 、《挟仙游》    ……………………………………………………………………………176

 第五节 无射调琴曲

一 、《捣衣》   ………………………………………………………………………………188

第四章    王燕卿古琴音乐艺术探微   ……………………………………………202

 

 第一节   王燕卿的琴学理念 ……………………………………………………………………202

 一、王燕卿古琴传谱的内容   ………………………………………………………………202  

   二、王燕卿古琴传谱的律与调   ……………………………………………………………203

三、王燕卿古琴传谱的琴曲特色   …………………………………………………………211  

四、王燕卿对琴学的创新   …………………………………………………………………212   

第二节   王燕卿古琴传 曲的演奏特点与艺术风格 ……………………………………………214

  一、 王燕卿古琴传曲的节奏规范特点 ……………………………………………………214

       二 、 王燕卿古琴传曲演奏指法的规范 ……………………………………………………216

         三、 王燕卿古琴传曲的演奏手法特点 ……………………………………………………218

   四、王燕卿古琴传曲的艺术风格   …………………………………………………………222        

第三节   王燕卿的古琴艺术审美观     …………………………………………………………224

   一、王燕卿的古琴艺术审美观   ……………………………………………………………224

       二 、王燕卿的创新精神与时俱进   …………………………………………………………228    

     第四节   王燕卿对古琴音乐发展的贡献之我见………………………………………………230

   一、王燕卿的琴学传承贡献   ………………………………………………………………230

   二、王燕卿弟子对其琴学传承的继承与贡献   ……………………………………………232

       (一)徐立孙对王燕卿琴学的继承与贡献 ……………………………………………232

       (二)朱惜辰对王燕卿琴学的继承与贡献 ……………………………………………235

       (三)吴宗汉对王燕卿琴学的继承与贡献 ……………………………………………236

   三、王燕卿精湛的艺术才华促成梅庵琴派之产生……………………………………… 239

  四、王燕卿以传统融合创新赋予古琴艺术新颖的动力 …………………………………244

   五、王燕卿以“琴道”来发扬振兴中国传统文化……………………………………… 245

结语 ……………………………………………………………………………………………250

附录

图片目录

谱例目录

文献目录与文献内容

?考文献、音响、影像

 

  

 

关山月Guan Shan Yue(Moon over the Mountain at the Frontier)


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