文档介绍：天津音乐学院
硕士学位论文
从七首琴曲看刘少椿古琴演奏特征
姓名:赵烨
申请学位级别:硕士
专业:音乐学
指导教师:李凤云
20061201
学位论文提要
赵烨古琴研究生
导师罘镌
刘少椿是 20 世纪中期具有代表性的广陵派第十代传人他一生都在默默无
闻地弹奏由口传心授传承下来的广陵派琴曲本文以 1956 年刘少椿录制的七首
琴曲为主要研究对象并根据笔者对七首琴曲的记谱结合对比其它琴家的演奏
来总结刘少椿的演奏特征
全文分为四个部分第一章着重介绍刘少椿的生平与广陵琴派第二章则具
体分析刘少椿每首琴曲的演奏特点第三章归纳出刘少椿三方面演奏特点 1
在技法上通过左手吟猱等手法突出圆与虚的意味 2 在节奏上通
过对气息的运用而达到道法自然的演奏特点 3 在整体的演奏处理上通过
阴阳互补的原则表现出淡的艺术风格第四章简略分析刘少椿演奏特征
形成的原因笔者认为佛道的思想境界是刘少椿古琴音乐的追求
关键词古琴广陵琴派刘少椿
2
Abstract
Shaochun Liu was one of the most important Qin player in the middle
century of 20th, who was also considered as the 10th essor of Guangling
Qin School. He used all his lifetime to play the music quietly, which was
eeded by mouth and heart. This essay aims at the recording of Shaochun
Liu in 1956 and in according to the scripts of seven pieces by my record,
I summarize the characteristic of the playing by Shaochun Liu through
comparing with the music of other qin players who were in the same age
with Mr. Liu.
This essay is divided into four parts. The first part introduces the
life of Mr. Liu and origin of his performance so called Guangling Qin
School . The second part analyses the playing characters of his music
pieces. The third part generalizes three aspects of Mr. Liu s playing
feature. The fourth part finds the reason which formed the feature of Mr.
Liu s playing. I think the spirit of Buddhism and Daoism is the main
object which was pursued by Shaochun Liu and he wanted to express it in
his music.
3
引言
在中国 20 世纪的琴坛上曾经涌现出一批杰出的古琴家他们竭尽所能地传
播和发扬古琴音乐并对后世琴学有着深远的影响如查阜西彭祉卿张子谦
于 1936 年在苏州上海开办今虞琴社并创今虞琴刊又如管平湖吴景略等
人通过打谱进一步挖掘整理古代曲谱再如查阜西许健王迪等人走遍全国各
地为各派琴家录制和保存琴曲种种行为为 21 世纪的琴学发展打下良好的基础
刘少椿是 20 世纪众多琴人中默默无闻的一位具体说来人们对刘少椿的关注
应起始于 21 世纪初有报道说 2000 年上半年为调整充实关于亚洲艺术和
东方艺术的永久性展览美国纽约大都会博物馆曾向在美华人艺术团体和中国
有关方面征集中国古琴曲目的代表作中国中央电视台通过美国洛杉矶华人艺术
中心向纽约大都会博物馆推荐了刘少椿演奏的前述八首扬州广陵琴派古琴名
曲[1]这份报道不禁引人思考为什么中央电视台向纽约大都会博物馆推荐了
刘少椿的古琴音乐呢其艺术价值在哪里之后于 2002 年