敦煌琵琶谱的节奏与演奏手法密切相关

Dunhuang Pipa Tablatures:The Decisive Influence of String Plucking Techniques on the Formation of the Rhythm

本文提出了敦煌琵琶谱的节奏对演奏手法的依存关系。认为掣号是正反拨连续运作的标记 ,“掣前不掣后”的记谱原则在从中国传至日本的尺八的琴古流的古谱中仍然存在。论文对敦煌谱中的扣、弛音的类型进行了归纳和类推 ,提出敦煌乐谱中各种拨法对节奏的形成具有决定性的影响 ,并对各种拨法的特定属性和作用进行了逻辑归类。

The article proves that the rhythm in Dunhuang tablatures depends on its performing techniques. Despite the sign of che for string plucking, forward and backward without stop, the principle of transcription-“forward, not backward,”presents itself in ancient Japanese Shakahachi's tablatures of the kinko school.The article makes an induction of some types of kou and chi notes, suggesting, in the tablatures, the decisive influence of various plucking techniques on the formation of rhythm and logically classifying them according to their qualities and functions.