Performance Study: Sound Analysis of the Traditional Civil Piece for Pipa "Yue Er Gao" ("the Moon on High") Performed by Three Traditional Pipa Schools

表演學研究：聲響分析傳統琵琶派別－以文曲〈月兒高〉為例

10.29873/GMJ.201006.0003

蔡佩洳(Pei-Ju Tsai)；珊卓拉卡拉(Sandra Carral)

表演學研究 ； 傳統琵琶學派音樂詮釋 ； 聲學分析 ； 琵琶文曲月兒高 ； 琵琶指法 ； Performance Study ； Interpretation of the traditional Pipa schools ； Sound analysis ； Pipa civil piece Yue er gao The Moon on High ； pipa techniques

關渡音樂學刊

12期（2010 / 06 / 01）

57 - 85

英文

新葛羅夫音樂詞典(The New Grove Dictionary of Music and Musicians)詞條“中國”之“獨奏樂器－琵琶”中，作者Wu Ben提到傳統琵琶學派的演奏及教學方式，其論述與筆者訪談浦東派琵琶大師林石城相同。林石城說道：「傳統琵琶學派的演奏及教學中，加花是區別琵琶派別及大師的一項藝術。通常大師彈琵琶不需要樂譜，樂譜是給學生入門使用的，幫助學生方便記憶學習，且在傳統派別中樂譜的記載並不是很完整，通常只記骨幹音。」（2000蔡佩洳，北京）因此本文嘗試分析詮釋琵琶文曲〈月兒高〉於三位代表性的琵琶大師衞仲樂（汪派）、林石城（浦東派）和楊少彝（平湖派）的演奏錄音，藉此探究傳統琵琶表演學及音樂詮釋學上的規律性與自由性。此研究使用Rob Maher和James Beauchamp專為聲學研究而研發的SNDA電腦軟體分析此三個錄音。此項分析，呈現三個旋律曲線圖，各代表著詮釋的規則及旋律走向。本文的鋪陳從研究困難的提出（如錄音資料的取得），至比較不同派別的詮釋、旋律加花、指法等之異同，和派別間傳承的詮釋與規則。其中楊少彝的錄音使用舊制琵琶，因舊制琵琶的品（琴格）較少，導致有些音無法在品上彈出，必須經特定指法來製造特定的音高，這些指法影響了老式琵琶與新式琵琶在音樂詮釋上的不同。也因老式和新式琵琶律制的不同，本文的研究進一步涉及中國琵琶律制及西方十二平均律的測量與比較。希望藉此研究讓讀者更易了解琵琶派別之間的承傳性、相異性、相容性及差異，並且重見似被淡忘及消失的傳統琵琶流派，其音樂聲響與音樂詮釋。

The author Wu Ben wrote the entry ”Pipa” in ”The New Grove Dictionary of Music and Musicians”, and he shares the same opinion of the performance and the pedagogy of the traditional Pipa Schools with the representative Pudong Pipa Master Lin Shicheng, who said in my personal interview and Pipa lecture that ”in the traditional Pipa school, interpretation is a master's art, and the masters always play without a score. The musical score merely helps the student memorize the music more easily, as the traditional score is not very complex and usually notes the core melody only” (Tsai, 2000, Beijing).This is why for this article I have used the recordings of three representative Pipa masters to analyze the same civil piece ”Yue er gao” (The Moon on High) instead of simply analyzing the musical score, using the computer program SNDAN developed by Rob Maher and James Beauchamp. As a result, the computer has provided three melody lines that illustrate how differently the three schools used to interpret the aforementioned piece.Despite some difficulties in the course of research (i.e. obtaining rare old recordings) this article explores the way the masters used to perform the same core melody but embellished it in various ways, which was governed by the different aesthetic principles of the respective school. In addition, this paper aims to examine how various techniques produce different sound effects regarding pitch variation (vibrato and glissando), tremolo and intonation, e.g. by measuring the tuning system of the old Pipa (fewer frets) against that of the modern Pipa (more frets) and comparing it to the Equal Temperament Scale. Hopefully, the reader will be able to grasp the rules of musical interpretation such as regularity, interpretative freedom, continuity, discontinuity and similarity, and to differentiate between the performances of the traditional Pipa schools. Furthermore, this paper aims to reconstruct the old sounds and musical interpretation of the traditional Pipa schools.

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