一個新的琵琶指法分類法與其教學運用

琵琶新樂曲的創作方式及風格走向，深受琵琶指法的發展所影響。但以另一角度觀察時，琵琶的性格－一個兼併了開明和創意的多重性格－在中國文化當中扮演一個相當重要角色。在這樣的文化之下，琵琶的角色扮演與它的功能使他身兼為舞台與大眾流行的樂器。在整個漫長的中國音樂吏的演變下，琵琶的右手指法由撥彈轉為指彈，唐中期至明朝其持琴方式由橫抱改為直抱的方式，及在清朝興盛的傳統琵琶學派中，古譜記載琵琶受到古琴指法的影響，如禁大、小指，但是在限制琵琶發展指法下的影响，卻遭到崇明派大師朱英的反駁，他認為琵琶與古琴不同，琵琶需要更多的手指來詮釋音樂。因此後來許多古琴左手的指法也被納入琵琶中，例如：綽、注等。這顯示琵琶這個樂器指法的重要性，也難怪琵琶指法的繁複及發展，一直是當今學術界的話題。傳統的琵琶譜與現今出版的琵琶書籍，對於琵琶的指法種類及數量，大多記載不一，有的書籍記載琵琶指法有從三十多種、七十幾種至多達一百多種的說法。然而對於這眾說紛云的說法，近年來激起了許多音樂學者與琵琶演奏家的關注，因而產生很多琵琶指法分類法但是大部分的分類法，除了在邏輯上有互相矛盾或不足的地方，就是無法融入所有的指法。因此本篇論文試圖以一個新的觀點來架構琵琶指法分類。這個新的分類法除了能容納所有琵琶的指法外，還試圖解釋琵琶指法相互間的發展關係與其邏輯架構，並從音樂上的功能、語意與角色來提出一套系統性的分類架構。這套理論也嘗試運用於教學的實踐。在教學實踐的部分，筆者以自身在維也納任教琵琶的經驗，來呈現學生對於此理論與傳統教學的反應，希望藉此能提供台灣琵琶在學術界、演奏、教學界一個新的參考。

關鍵字

琵琶指法；分類法；教學法；指法功能；指法的語意學

並列摘要

The development of pipa-technique has influenced the creation and the new style of repertoire. The pipa has also played a vital role in Chinese culture as an instrument for classical and folk music.In the development of the Chinese music history, the pipa-technique of the right hand changed from using a plectrum to the use of fingers. From the mid-Tang dynasty to the Ming Dynasty the way of holding a pipa was changed from horizontal position to vertical position. According to the manuscript of the renowned traditional pipa school in the Qing Dynasty, the pipa-technique was influenced from the qin, such as the prohibition of using thumb and little finger. But the limitation of pipa-technique was not accepted by the pipa master of the Chong Ming School. Zhu Ying argued that unlike the qin, the pipa requires more fìngers to play and to express music. However many of the qin techniques were retained for the pipa, for example the techniques chuo and zhu are still the hot topics of the complication and development of pipa-techniques.The traditional pipa repertoire and literature related to new pipa-techniques reveal that the number of pipa-techniques always vary with some mentioning 30, 70, or more than 100 different techniques. This paper offers a new taxonomy of pipa techniques and illustrates the development, the logical structure, the musical function, and the symbolism of the pipa-technique.