古琴與中國音樂現代化（1918—1937）：以王露、王光祈及今虞琴社為例

本論文以王露、王光祈與今虞琴社的琴樂活動與琴樂主張作為例子，探討二十世紀上半葉（戰間期為主）古琴與中國音樂現代化潮流發生接觸的過程與方式。第一章說明進行本研究的動機、研究對象、研究方法與材料。第二章探討現代音樂教育在中國現代高等教育首府北京大學校園展開的歷史，以及古琴被導入其中的原因和經過。第三章探討中國著名現代音樂學者之一王光祈的音樂思考，如何容納傳統音樂文化中的古琴，檢視傳統古琴曲目在中國音樂現代化的過程中如何被賦予新的用途。第四章探討今虞琴社在一九三○年代中如何對中國音樂現代化的動向投以關注，又如何將古琴與之連綴。第五章就上述案例影響古琴現代化人士的背景和主張異同進行比較，結論中回歸本研究的出發點，從古琴史的角度指出因為不同音樂族群或人士的重視，古琴現代化在二十世紀上半葉開始在音樂紀錄、音樂實踐、音樂創作、音樂的理論化等方面受到不同程度與取向的試探，而錄音和廣播方面的相關案例，在這項課題上也有延伸研究的價值。

關鍵字

中國音樂現代性；古琴；美育；王露；王光祈；今虞琴社

並列摘要

This thesis examines how Guqin was involved in the process of music modernization in China during the first half of the 20th century, especially in the interwar period (1918—1937). The Guqin activities and opinions of Wang Lu, an important figure of Chu-cheng Guqin tradition, Wang Guangqi, a Chinese pioneer scholar of Western musicology, and Jinyu Qin Society, a pivot organization in Guqin circle of Republican China are studied as representative cases. Chapter 1 introduces the background, the objects, and materials examined in this research. Chapter 2 briefly discusses how modern music education took places in Peking University, the center of modern higher education in China, and examines the reasons and process cause Guqin involved. Chapter 3 focuses on one of the important Chinese musicologists, Wang Guangqi. By examining his published ideas about music modernization in China and Guqin, this chapter discusses the modern usage of traditional Guqin music resources. Chapter 4 examines how Jinyu Qin Society casted its concerns about music modernization in the 1930’s, and how Guqin was linked to the elements of music modernization. Chapter 5 compares the similarities and diversities of the music backgrounds and main concerns of the key figures that influenced the development of Guqin modernization mentioned in the three cases. And in the conclusion, this thesis suggests from a standpoint of Guqin music history research that due to the attention and enthusiasm of music advocates and/or music groups, the modernization of Guqin was explored from multiple dimensions such as notation, music practice, compositon, and the theorizing of music. Furthermore, the cases of music broadcasting and phonograph-record making comprising Guqin were also related subjects for future research.

並列關鍵字

Chinese musical modernity ； Guqin ； Aesthetic Education ； Wang Lu ； Wang Guangqi ； Jinyu Qin Society

參考文獻

郭正昭，〈王光祈與少年中國學會（1918—1936）——民國學會個案探討之一〉。《近代史研究所集刊》2：97—150。

Clayton, Martin R. L.. “Free Rhythm: Ethnomusicology and the Study of Music without Metre”. Bulletin of the School of Oriental and African Studies. University of London. Vol. 59, No. 2 (1996): 303-332.

Jones, Stephen. “Source and Stream—Early Music and Living Tradition in China”. Early Music, Vol.24, No.3(Aug., 1996): 374-88.

Kouwenhoven, Frank. ‘Meaning and Structure – the case of Chinese qin (zither) music’, British Journal of Ethnomusicology, 2001(10/i): 39—62

Van Gulik, R. H.. The Lore of the Chinese Lute. Tokyo: The Voyagers' Press, 1969.

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古琴與中國音樂現代化（1918—1937）：以王露、王光祈及今虞琴社為例

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