《大還閣琴譜．瀟湘水雲》的「水雲聲」研究

A Discussion on the Sound of “Mist and Cloud” in the Tune “Mist and Cloud over Xiao-Xiang Rivers” of Da Huan Ge Qingpu

徐谼之《谿山琴況》乃古琴音樂美學的顛峰之作，其所編纂的《萬峰閣指法閟箋》、左右手二十「指法手勢圖」及《大還閣琴譜》是呈現其琴樂審美觀的重要素材，本文擬從《大還閣琴譜》–二十「指法手勢圖」，從指法的要訣，和琴曲段落的音型（以水雲聲為主）等等來分析，來印證徐谼如何將其《谿山琴況》的審美觀落實在琴曲中實踐，以彌補前人在這方面的研究不足之處。

His-Shan’s Epithets on Qin Music written by Hsu Hong is the most important writing in the field of Guqin musical aesthetics. Wan-fong-Ge Zhi Fa Mi Jian, 20 kinds of “fingering and gesture tablature of Chinese Guqin”, and Da Huan Ge Qinpu compiled by Hsu Hong are also important source materials to represent Hsu Hong’s viewpoints of appreciation of beauty concerning Guqin music.
This research aims to examine the above writings. In addition to Da Huan Ge Qinpu, the author aims to investigate the significance of Wan-fong-Ge Zhi Fa Mi Jian and 20 kinds of “fingering and gesture tablature of Chinese Guqin” compiled by Hsu Hong. In particular, the author will provide the sound of “mist and cloud” in the tune: “Mist and Cloud over Xiao-Xiang Rivers” as examples.
The author considers some important factors for successfully achieving the above stated goal, such as the method of fingering and gesture on playing Guqin, the tune and form of Guqin music, and so on. Finally, the author will indicate how Hsu Hong put his viewpoints of appreciation of beauty on playing Guqin music into effect, to make up for the inadequate research regarding the topic by earlier scholars.