对《碣石调·幽兰》打谱的分析和研究

摘要

In the early 20th century, Western economic and cultural invasion made a strong im- pact on traditional Chinese culture. As a symbol of traditional Chinese music, Guqin was the first to bear the brunt. Its heritage and development got struck andgradually was on the decline. In the early period after the liberation, many Gu.qin composgions got lost, such as ＂Guanzlin San＂ （The Story of Guanglin）., ＂Jleshi,diao Youlan＂ （The Refined Orchid in＇Jieshi Mode）, etc. Faced with this situ ation, from the late Qing Dynastyand the beg!nning of the Republic of China, someGuqin musicians spbnfaneouslbegan to cbllect hnd arrange its traditional com- positions, which became one of the Important subjects of Guqin music activities in the 20th century. According to the historical record, ＂Jiestiidiao Youlan＂ was handed down from QiuMing of the Southern and Northern Dynasties： A handwritten copy by someone from the Tang Dynasty, its original version is kelat in Japan. It＇ S the earliest Guqin score of our country and also the only Guqin tablature notation. Chinese musicians, represented by Yang Zongji, made exploring research on it and longed for to restore the missing tune of the Tang Dynasty. Dapu researchdone in the 1950s was the most extensive and intensive research activties for this musical work. It is unprecedented in such respects as the research method, the openminded thought, the various angles and the spacious scope. At the same time, thehave an entirely new understanding 6f Gu-qin fingeringfeatures and notation characteristics of the Tang and Song Dynasties but also do the exploring arrangement to other traditional Guqm musical works.%20世纪初期,由于西方经济、文化的侵入对中国传统文化产生强烈冲击。古琴作为中国传统音乐的象征首当其冲。其传承和发展受到了极大影响,逐渐衰微。以至于到解放初期许多琴曲失传,如《广陵散》、《离骚》、《碣石调.幽兰》、《酒狂》、《长清》、《短清》等等。基于此,从清末民初开始,一些琴人便自发地对传统琴曲展开整理、挖掘,这一工作成为20世纪古琴琴学活动的重要课题之一。《碣石调.幽兰》是20世纪初以来琴人最为关注的失传古曲。此曲相传为南北朝丘明所传,唐人手抄卷子本,原件藏于日本,是我国现存最早的琴谱,也是唯一的古琴文字谱。20世纪以来以杨宗稷为代表的中国琴人对《碣石调.幽兰》展开了挖掘研究,以期能恢复唐代遗音。20世纪50年代的打谱是对《碣石调.幽兰》最为全面、最为深入的研究活动。其研究方法、研究思路的开阔、研究角度之多、范围之广均是史无前例的。同时,对《幽兰》指法的考证、研究不仅使琴家对唐宋古琴古指法的特点、谱式特点有了全新的理解,而且也带动了其后对《广陵散》、《酒狂》、《长清》、《短清》等古曲的挖掘和整理。