《青蓮樂府》琵琶曲之演奏分析與探討

本篇詮釋報告題目為〈琵琶曲《青蓮樂府》之演奏分析與探討〉，主要以《青蓮樂府》李廷松與劉德海兩種版本之演奏譜，作樂曲結構分析及演奏詮釋。其中，內文包含了琵琶各家流派簡述、收錄《青蓮樂府》之流派傳譜、六十八板及《青蓮樂府》之源流與結構、演奏分析等主題作探究。　　本篇詮釋報告之章節順序如下：第一章緒論，說明研究動機與目的、參考之文獻名稱及其內容簡說、研究方法及步驟。第二章琵琶流派之敘述，將近代主要的五個琵琶流派：無錫派、平湖派、浦東派、崇明派、汪派，及其傳譜與重要傳人於此章依序作整理，並從中得知收錄《青蓮樂府》之流派傳譜。第三章六十八板與《青蓮樂府》之關聯，先探討六十八板源起與結構，接著探究《青蓮樂府》的發展與傳承，最後加上具有承襲關係李廷松演奏譜之劉德海演奏譜，作調性、段落和板式之結構分析。第四章《青蓮樂府》演奏分析，於此章節以李廷松演奏譜作為主體，再加上劉德海演奏譜作為比較，並且以樂句的模進、加花與變奏，以及演奏技法等方面，依序將各個樂段同步作分析與比對。第五章結論，將上述所探討之內容整理，於本章作最後的總結論。結尾附錄依序為琵琶演奏指法表，《青蓮樂府》李芳園演奏譜、李廷松演奏譜、劉德海演奏譜。

關鍵字

琵琶；青蓮樂府；李廷松；劉德海

並列摘要

The title of this interpretation report is “The Performance Analysis and Research on "Ching Lin Yuefu" of Pi-Pa Repertoire.” This report is mainly based on the structural analysis and performance interpretation of two versions of “Ching Lin Yuefu” performance sheet music, each by Li Ting-sung and Liu Te-hai. Contents include brief descriptions of the five Pi-Pa schools, the performance sheet music passed down through each school that includes “Ching Lin Yuefu,” and the origin and structure of Sixty-Eight Ban (liushibaban) and “Ching Lin Yuefu,” and performance analysis. The chapter sequence of this interpretation report is as follows. The first chapter is the introduction, which explains research motivation and goals, titles of references and brief descriptions of its contents, methodology, and procedures. The second chapter narrates five different Pi-Pa schools, namely the Wuxi School, Pinghu School, Putung School, Chongming School, Wang School and the sheet music passed down through each school and their major successors. The sheet music passed down through each school which documents “Ching Lin Yuefu” is also elaborated in this chapter. The third chapter elaborates the connection between Sixty-Eight Ban and “Ching Lin Yuefu” by first exploring the origin and structure of Sixty-Eight Ban and then examining the development and inheritance of “Ching Lin Yuefu.” Finally, a structural analysis on the tonality, paragraphs, and banshi of Liu Te-hai’s performance sheet music, which has inheritance relations with that of Li Ting-sung, is carried out. The forth chapter is an analysis of the performance of “Ching Lin Yuefu” and focuses on the performance sheet music of Li Ting-sung, added with a comparison with that of Liu Te-hai. An orderly analysis and comparison of the sequence, ornamentation, and variation of the sentences and performance techniques is also conducted. In the fifth chapter, the contents examined in previous chapters will be concluded. Attached at the end of this study is the “Pi-Pa Performance Fingering Table,” Li Fang-Yuan’s, Li Ting-sung’s and Liu Te-hai’s performance sheet music of “Ching Lin Yuefu.”