摘要
《走马》是泉州南音四大名谱之一,其“合尾”仅以两个骨干音形成的音程作为旋律发展的内驱力,成为该首乐曲的重要标识。通过比对清以降的谱本,发现林霁秋《泉南指谱重编》“合尾”处有4个“工”音,其余版本均为3个“工”音。如今,泉州南音乐团演奏沿用4个“工”的版本,成为学校教育中的主流,而厦门、安溪、晋江、台湾地区等地代表人物演奏的版本均为3个“工”。透过《走马》“合尾”在谱本抄录中的明显差异,以及在实践中因师承、地域等因素的不同,由此客观看待南音器乐曲的艺术差异性与多样性。
Zou Ma is one of the Four Great Instrumental Suites(Pǔ)of Quanzhou Nanyin.Its“closing section”(héwěi),driven by melodic development centered on an interval formed by two core tones,serves as a defining feature of the piece.This study compares tablature manuscripts from the Qing dynasty onward.Lin Jiqiu’s Revised Compilation of Southern Finger Tablatures from Quanzhou uniquely records four iterations of the“Gong”tone in the closing section,whereas all other versions feature three.In contemporary practice,the Quanzhou Nanyin Ensemble adheres to the four“Gong”version,which has become the mainstream in educational settings.In contrast,representative performers from Xiamen,Anxi,Jinjiang and Taiwan region,predominantly employ the three“Gong”version.By examining the notational discrepancies in the closing section across manuscripts and the performance variations shaped by lineage transmission and regional practices,this paper objectively analyzes the artistic variations and diversity inherent in Nanyin instrumental music.
作者
陈振梅
尤佳明
CHEN Zhenmei;YOU Jiaming(School of Music and Dance,Quanzhou Normal University,Quanzhou,Fujian 362000,China)
出处
《泉州师范学院学报》
2025年第3期49-56,共8页
Journal of Quanzhou Normal University
基金
福建省社会科学基地重大项目(FJ2022JDZ050)。
关键词
南音
乐谱
《走马》
合尾
Nanyin
Pu
Zou Ma
closing section
