琵琶曲《龍船》作品與演奏分析

音樂，取材於生活，今筆者研究之《龍船》曲正是傳達了這項概念。《龍船》曲，是清代江南一帶廣為人知的琵琶獨奏曲，曲意在形容端午節划龍舟的熱鬧場景。這首曲子在音樂內容上取材於民間常用的曲調及鑼鼓「吹打」，傳達了清代人民與音樂之間不可分割的生活，並充分展現了琵琶音樂上的技術與表現力。據考證，目前普遍流行的《龍船》主要有三個版本：一、張步蟾向陳子敬學琴後的傳譜；二、華彥鈞的演奏譜；三、浦東派傳人林石城改編的。這三個版本都源自於清代浦東派的陳子敬，他將浙東吹打曲《划船鑼鼓》的曲式套用於琵琶上，創立了獨特的琵琶獨奏曲式。筆者首先整理琵琶沿革的歷史與《龍船》曲相關的音樂背景，再分析三個版本的曲式與演奏技法。三首曲子在同樣的曲式結構中，各自選取的鑼鼓及樂曲都不相同，演奏技法的使用也因人而異，筆者在第五章及結論中做了詳盡的比較。本研究除了介紹琵琶曲《龍船》的形成外，筆者也比對並整理了樂曲中所使用的民歌音樂內容，期望透過這些音樂與生活的連結能帶給筆者與讀者對現今琵琶的發展有更多想像，為此獻上綿薄之力。

關鍵字

《龍船》；張步蟾；華彥鈞；浦東派；陳子敬；林石城

並列摘要

"Music, always drawing from life", this study "Dragon Boat" exactly proves it on its way. This song, "Dragon Boat", which writing about the excited situation of the Dragon Boat Festival, is a well-known song of the southern area of the Qing Dynasty and also a very unique pipa solo. The song shows the strong connection between people to life, the great of pipa’s musical technique of expression by using the folk songs and the percussion "Chuida" into context. By researched, There are three current wide spreading versions which are on the following: First one , Bu-chan, Zhang passed to son after he had learned from Tzu-Jing, Chan ; The other, Yan-jun, Hua’s performance sheet ; Another, Shi-cheng, Lin’s performing sheet. These three versions are derived from the one of "pu-dong School", Tzu-Jing, Chan, who established the unique solo form of pipa by transit the form of Zhejiang percussion song " boating percussion " . For research, there are steps of following. First, system all the music background resources of pipa and Qing Dynasty. Second, analyzing the techniques and the music forms of these versions. The three versions all establish on the same structure, but each one has unique context. This difference comes from each performer’s experience and technique. The resort should shows what is the Aesthetics of the Qing Dynasty music language, how to perform folk songs and "Chuida" on pipa and gives a point of view on pipa’s situation to the readers as a contribution.