以《潯陽月夜》、《新中花六板》探討劉德海琵琶藝術的新思維

Liu De-Hai's Innovations on the Art of the Pipa: Based on A Moon Night at Xunyang and New Middle-Ornamented Six Beats.

蔣宜芮(Yi-Jui Chiang)

指導教授 ： 鍾佩玲

國立臺北藝術大學/音樂學院展演書面報告/傳統音樂學系碩士班演奏組/碩士(2013年)

摘要

隨著西方文化的傳入，傳統音樂的發展上，不論在於音樂創作、思維方式、獨特技巧和流派風格，都產生新的表現方法和結構邏輯，琵琶的演奏技法也較於早期樂曲來的複雜和豐富。近代琵琶大師劉德海對於二十一世紀的琵琶藝術有著相當大的貢獻，一生鑽研琵琶藝術盡心盡力，且堅持從傳統為立足點，開拓琵琶新的藝術風格，彙整融合各種流派的優點，拓展琵琶的新表現力。他獨特的表演藝術思維、新穎的演奏與創作風格，將琵琶音樂從傳統出發，結合民族特色，推動至世界許多地方，他是一位令人尊敬的音樂創作者，也是位最富盛名的大師。
本文以劉德海的審美藝術觀、「正反彈」系統新思維和創作理念三方面來進行探討，以劉德海賦傳統曲目《潯陽月夜》以及《新中花六板》新生命作，作分析和詮釋例證，研究古曲改編以及創作脈絡，呈現琵琶的新藝術思維與特徵。
在研究過程中深入瞭解劉德海的琵琶藝術演奏觀，他除了為傳統樂曲注入新的生命力之外，在改編的過程也顯示出承先啟後的精神，使琵琶藝術具有嶄新的表現力與更高更深的藝術層次。透過本研究對於古曲新奏之詮釋資料，期望能對於琵琶演奏者提供一些參考的資料。

關鍵字

琵琶、劉德海、表演藝術

並列摘要

New methods of expression, constructions and logic of a piece arise with the introduction of the Western culture, which gives rise to numerous changes in the Chinese traditional music including the changes in the way of thinking, in the composition, and in the techniques and styles. And the techniques of playing the pipa become more complicated and richer than those of the early pieces. The modern master of the pipa, Liu De-hai, contributes to the art of the pipa tremendously. Having studied the art of the pipa diligently all his life, Liu De-hai insists on taking tradition as foundation to developing new art styles. He blends the merits of different schools, and extends new expressive power of the pipa. His unique ideas on the performing arts and original styles of performance and composition integrate the music of the pipa with ethnic features, and promote it to many places of the world. He is a venerable musician and the most prestigious master, too.
The essay discusses the aesthetics of Liu De-hai, his new systematic ideas on plucking from the front and the back, and his philosophy of composition. Exemplified with the analyses and interpretation of the two traditional pieces with Liu De-hai’s new ideas, A Moon Night at Xunyang and New Middle-Ornamented Six Beats, the essay shows the artistic thinking and the characteristics of the pipa by studying the two adapted old pieces and their contexts of composition.
After understanding Liu De-hai’s aesthetics of playing the pipa, we can find that he not only gives a new life to the traditional pieces, but shows his spirit of inheritance and creation and furthers the art of the pipa to a brand new and a more profound level. Through the analyses and interpretation of the newly-played old pieces, hopefully, the study can offer some reference materials to the performers of the pipa.

並列關鍵字

pipa, Liu De-hai, performing arts

參考文獻

謝逸涵〈2010〉《取材自地方音樂的琵琶曲《新中花六板》、《雙聲恨》、《寒鴉戲水》之分析與詮釋》，台北：臺北藝術大學研究所碩士論文。

【書籍】

韓淑德、張之年〈1987〉《中國琵琶史稿》，台北：丹青出版社。

莊永平〈2001〉《琵琶手冊》，上海：上海音樂出版社。

鍾佩玲〈2003〉《「鍾情一生---鍾佩玲琵琶獨奏會VI」樂曲之詮釋：立足傳統放眼現代 琵琶音樂演奏之探討》，臺北：四章堂文化事業有限公司。