明清琴学界的有词和无词之辩论析

Debates on With or Without the Text by the Academic Field in Gu Qin during the Ming and Qing Dynasties

关于古琴曲是否可以配词,在明清琴学界多有争论,是个颇受学界关注的话题。推崇无词琴曲者重视弹奏技巧的充分开掘和运用,重视通过不受文词牵合干扰的音声的各种自由的组织变化,充分发挥纯粹琴乐音声本身的表现力,来表达或丰富博大,或微妙玄虚的儒、道、禅等精神境界,认为琴曲创作过程的规律来看,不少琴曲在创作时是有意识地不用文词的;而推崇琴歌者则认为不能过分炫耀和卖弄技巧,不能靠这种技巧带来的复杂变化的音声来愉悦人耳,他们认为古琴音乐的根本在于通过文词与音声的结合,更好地传达儒家伦理道德等理性的内涵,从而更好地实现古琴艺术的礼乐教化功能,认为文词与曲调可以相互促进,相得益彰,琴歌可以作为无词琴曲学习的启蒙的门径,琴歌对于古琴曲目创作能够起到促进作用。古琴文化的发展演变深受其所处时期历史文化背景的变迁的影响,也和传承发展古琴的士人们的思想观念以及士人们根据自身的需要对古琴文化功能的选择有着密不可分的关系。

There were frequent debates inside the academic field during the Ming and Qing Dynasties on whether the Gu Qin music should have text. Those who held in esteem for pure music paid much attention to the thorough exploration and application of technique as well as the freedom of structural changes in timbre without being interfered by the use of words, therefore letting the instrument demonstrate its expressiveness through sound itself. Those who preferred adding text argued that the essence of Gu Qin music is to better convey the connotation of the Confucianism doctrine through the combination of music and words. The development and evolution of the culture of Gu Qin has been deeply influenced by the historical and cultural background throughout histor y, meanwhile, they have also been closely associated with the ideological concept of the players who often made choices based on their own needs.