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題名:徐谼《谿山琴況》中「絃外之音」的意涵研究
書刊名:藝術評論
作者:李美燕 引用關係
作者(外文):Lee, Mei-yen
出版日期:2016
卷期:31
頁次:頁41-77
主題關鍵詞:古琴音樂絃外之音徐谼道家谿山琴況OvertonesGuqin musicHsu-HongTaoist philosophyHis-Shan's Epithets on Qin Music
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本論文旨在探討徐谼《谿山琴況》中「絃外之音」的意涵及其與道家思想的關聯,先從《谿山琴況》來看,徐谼對古琴曲之「絃外之音」的體認與「氣」、「意」的觀念有密切的關聯,再追本溯源,則可見古琴音樂美學中「絃外之音」的意境實是源自道家藝術精神的體現,尤其是老子的「有無相生」與莊子的「心齋」說——「聽之以耳」、「聽之以心」、「聽之以氣」。道家的理念落實在古琴音樂上,先由耳與心、心與氣之平衡、和諧,使生命從世俗中解脫與昇華,在如此的心境下撫琴,才能產生「絃外之音」,體現人與宇宙大自然的和諧統一,而形成古琴音樂獨具一格的美學價值。最後,本論文以吳兆基所彈之〈瀟湘水雲〉一曲中少許樂句為例,以說明古琴音樂體現道家生命哲學所展現「絃外之音」的深層意涵。
This paper aims to investigate the significance of "overtone" in His-Shan's Epithets on Qin Music written by Hsu Hong. The concept "overtone" relates to Taoist philosophy: from the viewpoint of His-Shan's Epithets on Qin Music, Hsu Hong's experience concerning the "overtones" of guqin music is intimately linked to the human spirit(氣) and will(意). A reading of ancient literature shows that the artistic conception of the "overtones" of guqin musical aesthetics is actually derived from the artistic spirit of Taoist philosophy, as exemplified in Lao Tzu's statement: "existence and non-existence give birth the one to(the idea of)the other", and also in Zhuang tzu's essay on the "fasting of the mind", where he compared the hearing of the ears, the hearing of the mind and the hearing of the spirit. Zhuang tzu indicated that "let the hearing(of the ears)rest with the ears; let the mind rest in the verification(of the rightness of what is in the will), but the spirit is free from all pre-occupation and so waits for(the appearance of)things. " The implementation of the Taoist ideas on guqin music is first to make the human's ears and mind to be balance and harmony, and then to allow the mind and spirit to achieve balance and harmony. Afterwards, people can play guqin music as long as they free themselves from the material world, and then they can experience the "overtones" of guqin music. Furthermore, the spirit of people could be wholly in unison with the harmony of the natural world; this forms the unique aesthetic value of guqin music. Finally, this paper takes a few phrases of guqin music: "Xiaoxiang Shuiyun" played by Wu Zhaoji as an example, in order to illustrate the deep meaning of "overtones" as they reflect the philosophy of Taoism.
會議論文
1.黃瓊慧(2008)。領略古琴音樂「無聲之妙」之心理歷程--生態音樂知覺心理學的觀點。2008『古琴、音樂美學與人文精神』跨領域、跨文化學術研討會,25-32。  延伸查詢new window
圖書
1.郝寧、王定安、嚴澂(2010)。藏春塢琴譜。北京市:中華書局。  延伸查詢new window
2.曹尚絅、蘇璟、戴源(2010)。春草堂琴譜。北京市:中華書局。  延伸查詢new window
3.徐琪(2010)。五知齋琴譜。北京市:中華書局。  延伸查詢new window
4.劉承華(1998)。中國音樂的神韻。福州:福建人民出版社。  延伸查詢new window
5.王卡(2011)。老子道德經河上公章句。北京市:中華書局。  延伸查詢new window
6.蕭鸞(2010)。杏莊太音補遺。北京市:中華書局。  延伸查詢new window
7.張進朝(2010)。玉梧琴譜。北京市:中華書局。  延伸查詢new window
8.陳大斌(2010)。太音希聲。北京市:中華書局。  延伸查詢new window
9.孫寶(2010)。以六正五之齋琴學秘譜。北京市:中華書局。  延伸查詢new window
10.王心葵(2010)。琴學摘要。北京市:中華書局。  延伸查詢new window
11.馬如驥(2015)。瀟湘水雲及其聯想--馬如驥古琴文集。上海市:復旦大學出版社。  延伸查詢new window
12.徐樑(2013)。溪山琴況。北京市:中華書局。  延伸查詢new window
13.蔡仲德(2004)。中國音樂美學史資料注譯。北京市:人民音樂。  延伸查詢new window
14.龐歡(2007)。古音正宗:虞山派古琴藝術館。上海市:上海文化。  延伸查詢new window
15.李耳、王弼(1981)。老子。臺北:中華書局。  延伸查詢new window
16.徐谼(2010)。大還閣琴譜。北京市:中華書局。  延伸查詢new window
17.祝鳳喈(1995)。與古齋琴譜。上海:上海古籍出版社。  延伸查詢new window
18.葉明媚(1992)。古琴音樂藝術。臺北:臺灣商務印書館。  延伸查詢new window
19.莊周、郭象、郭慶藩(1991)。莊子集釋。華正。  延伸查詢new window
20.吳釗(2005)。絕世清音。蘇州:古吳軒出版社。  延伸查詢new window
其他
1.吳明濤(2015)。文化蘇州名字鑒賞系列吳門琴話,http://www.szlib.com/sztsg/szzy/zjszzy/szdjt/show.aspx?ID=3&n=638, 2016/03/20。  延伸查詢new window
2.吳兆基。評古琴彈奏注意事項,https://www.youtube.com/watch?v=CDP3CIKAADg, 2016/03/20。  延伸查詢new window
3.吳兆基(1993)。吳門琴韻,廣州市:廣東音像。  延伸查詢new window
圖書論文
1.徐永(1993)。意、氣、力在古琴演奏中的作用。琴韻。成都市:成都出版社。  延伸查詢new window
2.弦外之音。教育部重編國語辭典。  延伸查詢new window
3.吳兆基(1993)。太極拳和古琴。琴韻。四川:成都出版社。  延伸查詢new window
 
 
 
 
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