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古琴曲《龙翔操》是广陵琴派的代表曲目,20世纪广陵琴派的两位琴家张子谦与刘少椿均有对该曲的演奏录音存世。据此,笔者从受众的角度出发,对二人《龙翔操》的演奏版本进行比较,发现在“大众”和“小众”的受众取向差异下,二人对该曲的演奏形成了大开大合与缠绵蕴藉的气质差异,并在个别技法上有所出入。另外,张子谦版的《龙翔操》反映出大众传播形式下古琴音乐向“悦人性”的发展变化,笔者由此引发出对琴乐传播的思考,认为应该在大众传播的趋势外多给予小众传播一些空间,并在小众传播中对古琴音乐做出一定的当代表达。
Guqin “Longxiang Fu” is the representative of Guangling Qin School. In the 20th century, both Qinqin and Liu Shaochun of Guangling Qin School recorded their performance. Accordingly, from the perspective of the audience, the author compares the performance versions of the two “Long Xiang Cao” and finds that under the difference of the audience orientation of “mass ” and “minority ”, The performance formed a wide open and lingering temperament differences, and in some techniques have different. In addition, Zhang Ziqian’s version of “Long Xiang Cao” reflects the development and changes of Guqin music to “delightfulness” in the form of mass communication. The author then elicits a reflection on the spread of Qin music and thinks that it should be more popular outside the mass media Give the minority audience some room for communication and make some contemporary expression of the guqin music in the minority audience.