 New compositions and reconstructions (dapu) for the qin by TSE Chun-Yan | 
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| 點擊次數: |
 | 謝俊仁 |
| 【古琴創作樂曲】 | |
| 雙乙反調 |
| 秋日遊（詩三首） |
| 變徵引 |
| 一閃燈花墮 |
| 落梅 |
| 商意 |
| 秋祭 |
| 角意 |
| 再世情 |
| 【古琴打譜】 | |
| 古怨 ** 新增 |
| 【錄音】 | |
| 再世情 ** 新增 |
| 古怨 ** 新增 |
| 唱片《一閃燈花墮》 |
| 論文目錄 ** |
| 網站更新記錄 |
| 聯絡 |
| 鳴謝 |
論文目錄
- 內容提要：
《大還閣琴譜》（1673）之前的古琴記譜法，還未有用徽分；徽位間之按音，是用「簡略」的記譜法，例如用「八九」代表八徽九徽之間的音。衹寫單一徽位的按音，例如十一徽、十徽等，如果準確地按正徽位，據本文探討，彈奏時不論用三分損益律或純律調絃，均會出現效果不好的混合律。所以，單一徽位的按音亦可以是「簡略」之記譜，音位可因應音律而按在徽位微上或微下。明朝調絃法之單一徽位按音，便不可以用作證據，去論說琴曲是否用純律。彈奏明朝琴曲的變音，按音之音高亦可以較彈性處理，令琴曲更多韻味。
Abstract:
Qin, the musical instrument of the Chinese literati, is characterized by its subtle expressiveness. There is often a gradual acceleration of the tempo which is considered inconspicuous by insiders. To validate this inconspicuousness, a comparative perceptive study was done in an undergraduate music class. The students' impression on acceleration and their ability to identify correctly the tempo change of a section of a traditional qin piece and a traditional zheng piece (as control) were compared. Both pieces nearly doubled the tempo in the one minute section. Out of 16 students, 5 and 14 noted some acceleration, and 1 and 7 students measured the tempo change correctly, for the qin and zheng piece respectively (p value 0.004 and 0.07 respectively). The relative inconspicuousness of the acceleration in the qin piece is thus demonstrated. The psychoacoustic features of the inconspicuousness, the generalizability of the finding, and the aesthetic implications are analyzed.