《龙吟馆琴谱》与《梅庵琴谱》所收同曲之谱本析微

A Comparison between Two Versions of Eight Pieces as Reflected in the Qin Tablatures Lon-Yin-GuanQin-Pu and Mei-An-Qin-Pu

文章通过对《龙吟馆琴谱》与《梅庵琴谱》所收同曲——《平沙落雁》《长门怨》《关山月》《秋闺怨》《挟仙游》《春闺怨》《秋江夜泊》《捣衣》8曲的谱本勘校,在乐段划分、乐句划分、谱字、谱式、指法等方面层层深入地析微察异,以挖掘二谱之间所存在的同源异流关系。而尤其集中体现于《平沙落雁》一曲的谱本间的"小异",也为探寻诸城古琴是如何继承、创新、更别创一格而成梅庵新韵的,提供了重要的文本依据。

Through a collation of two versions of eight pieces inthe Qin Tablatures Lon-Yin-Guan-Qin-Pu and Mei-An-QinPu,the writer tries to explore the relations between the two,though variant but with the same origin,especially in the case of the piece Pin-sha-luo-yan( Wild Geese Fall on the Sands).