箏樂教學之實務初探 ─ 新式技法篇

Gu Zheng Music Education ─ Latest Types of Skills

楊佩璇(Pei-Hsuan Yang)

《華岡藝術學報》 7期 (2003/06) Pp. 170-208

https://doi.org/10.6366/HKJTA.200306.0170

摘要

古箏藝術發展至今，新一代作曲家與箏樂藝術人才，以全新的音樂語言、藝術構思來進行創作，箏曲的形式出現了新的定弦排列，並開發了許多非常規技法來追求多種音響色彩，筆者有感於教學品質與學生素質的提昇，針對現代創作箏曲之基本演奏技法為範疇，對於基本功訓練、建立正確的練習方法及樂曲演奏所須注意等相關問題，提出個人的經驗與心得，選輯部分”以曲代功”的樂曲，並增加筆者設計改編為培訓左、右手獨立彈奏技巧之基本練習譜例，希望藉以拋磚引玉，期待更多優秀的練習曲與樂曲作品，豊富箏樂的教學系統。

並列摘要

Recently the development of gu zheng art, with a new generation of talented composers and gu zheng artist's, new concepts of music language are being used in order to carry out the creation of art. A formal introduction of a new scale, along with the creation of many previously unused techniques and methods, are being used in order to capture a wide array of sound variations. Regarding the scope of modern gu zheng composition, this author hopes that this contribution to the literature will act as a catalyst to raise the quality of teaching and the quality of students playing ability. With regards to basic technical training, the correct methods of practice, and the important aspects of performance, the author present my own teaching experience and accomplishments. In addition to choosing several modem gu zheng works, that should be used for the purpose of training, the author has written several exercise pieces that are designed to improve the playing ability and unison of both the left and right hand. It is the hope of this author that more modern practice pieces are introduced by the gu zheng community and that an enriched teaching system for thegu zheng is developed.