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  • 學位論文

19世紀末以來的越南琵琶演奏藝術與技法研究

Research on the performance arts and techniques for the Vietnamese pipa since the late 19th century

指導教授 : 吳榮順 王世榮

摘要


根據史籍記載,越南受中國文化的影響長達兩千多年,尤其自中國明代恢復「冊封體制」後,大規模的文化交流輸出現象更是顯而易見。歷經朝代更迭,越南琵琶自明代流傳以來,至今已經約有六百年的傳承與發展,從「曲項琵琶」的引入到現今普遍使用的「越南琵琶」,在音樂表現等諸多方面都明顯有著屬於自己的特點,而立足於越南社會之中。 本文除了緒論與結論外,擬定四個議題而論:首先,從歷史文獻上探討流傳至越南的琵琶歷史發跡,進而瞭解受到越南文化的影響後,在越南社會的地位;其次,針對越南琵琶樂器本身,論及形制、音律、樂譜等來梳理其樂器的傳承與發展議題;其三,透過分析流傳各地域性的經典曲目,大略歸納出北、中、南地區的素材來源與曲調風格,並進一步的提出其音樂的詮釋手法。最後,根據筆者的學習演奏經驗,闡述越南琵琶的基本持琴姿勢與發聲方式,並試析左手與右手的演奏技法,深入透析越南傳統音樂之演奏精髓。 由於越南琵琶的演奏法相關研究,不及於中國琵琶演奏藝術文獻來得豐富。筆者期盼藉由這個議題的探討,讓琵琶音樂愛好者或各界音樂學子們,能夠多加關注這流傳越南的琵琶家族成員,進而提供越南傳統音樂的多元面向,提供演奏詮釋與技法應用之頗析。

並列摘要


According to the historical records, the Vietnamese was affected by Chinese culture for up to two thousand years, especially after "The Canonized System" during the Ming Dynasty, the output of large-scale cultural phenomenon was even more obvious. Experiencing the revolution of dynasties, the Vietnamese pipa was circulating in Ming Dynasty, has six hundred years of heritage and development. From the introduction of the "Bent-neck pipa", developed to "Vietnamese pipa", which is commonly use in Vietnam, has obviously its own characteristics and stand out in Vietnamese society. In this paper, in addition to the introduction and conclusion, the study divided into four parts: firstly, explore the historical documents from the history fortune of spread to Vietnamese pipa and further understanding of the status in the Vietnamese community which was affected by the Vietnamese Culture. Secondly, the Vietnamese pipa instrument itself, structure with shapes, melody, music and other issues to sort out the inheritance and development of its instruments; Thirdly, to analyze the various regional classic tracks, roughly summed up northern, central and southern regions of the source materials and style tunes with further proposed musical interpretation techniques. Finally, according to the author's experience of learning to play, elaborate Vietnamese pipa the basic holding posture and the playing method, and on the left hand and right hand playing techniques, in-depth dialysis essence of traditional Vietnamese music playing. Pertaining to Vietnamese pipa playing method related research, no more abundant than Chinese pipa literature. I hope the subject by discussing, enable pipa artists or music circle academia students can pay more attention to the pipa family members in Vietnam, thus providing multi-oriented traditional Vietnamese music, providing interpretation and performance analysis techniques applied fairly.

並列關鍵字

Chinese pipa Vietnamese pipa Bent-neck pipa

參考文獻


蕭軒竹(2006),〈占城在明代對外關係中的地位〉,《政大史粹》10:1-28,台北:國立政治大學史學系。
張一鴻(2006),〈越南的宮廷音樂─雅樂〉,《世界文化》1:47,天津:世界文化編輯部。
范廷琥(年代不詳),越南漢文小說叢刊•第二輯《雨中隨筆》(陳慶浩、鄭阿財、陳義主編),台北:法國遠東學院、臺灣學生發行。
林恩如(2009),《吉他技法在琵琶曲的應用─琵琶五曲探究》,台北:國立台灣師範大學民族音樂學碩士學位論文。
吳榮順(2009),〈安南音樂知多少─越南傳統樂器與戲曲音樂〉,《傳藝》84:29-33,宜蘭:國立傳統藝術中心。

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