| Summary: | 博士 === 國立臺北藝術大學 === 音樂學系碩(博)士班 === 106 === In view of analyzing the characteristics of modal structure in qin compositions of the florid-inflections(聲少韻多) style since the late Ming dynasty, this thesis takes the theory of “Ti-Yong”(體用, substance and function) in Qin Zhi(琴旨, the essentials of qin) as the research object and applies it, which was written by Wang Tan(王坦) in the Qing dynasty around 1744. Wang took the lead in designating the term Ti-Yong as the relationship of modal structure in qin music, while Ti-Yong had used to be a Chinese philosophical concept for a long time. The most significant chapters involving the Ti-Yong theory in Qin Zhi are Li Ti Wei Yong(立體為用, establishing the substance for providing functions) and Qu Yin Ding Wei(取吟定位, using vibratos with specific tones). Due to the significance of vibratos by the left-hand fingering, which remarkably affected the aesthetics and expression of qin compositions especially from the late Ming dynasty, these chapters concerning the Ti-Yong theory reflect the characteristics of musical style and the patterns of modal structure in Wang’s times on the other side. By way of stable tones without vibratos and active tones with vibratos in each mode and its modulation, there will be a great benefit not only to applying the Ti-Yong theory to qin music, but also to inspiring the research of Chinese music and Asian music as well as the composition of modern music.
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