活化

《欢蝶梦》为黄廷元家族旧藏琴曲，不见于历代通行刊印琴谱，传承或与中州琴脉有关。乐谱历经百年流传，由辛亥先驱黄廷元携琴谱远渡南洋，后由其孙黄章谊悉心保存，使这部尘封已久的琴曲得以留存至今。

Huan Die Meng (欢蝶梦) is a guqin piece long held within the Huang Tingyuan family collection. It does not appear in any of the historically circulated printed qin scores, and its lineage may be connected to the Zhongzhou (central China) guqin tradition. The score survived a century of transmission: Huang Tingyuan, a pioneer of the 1911 Revolution, carried it with him on his journey to Nanyang, and it was later carefully preserved by his grandson, Huang Zhangyi, allowing this long-dormant piece to survive to the present day.

目前《欢蝶梦》暂为孤本，尚未发现其他传本，因此其具体起源及传承脉络仍有待进一步考证。曲名“欢蝶梦”或取“庄周梦蝶”之意，寓物我两忘、超然自得之境；然“欢”字在传统琴曲名称中较为少见，其是否确与“庄周梦蝶”的故事有关，亦有待进一步考证。

Huan Die Meng currently exists as a sole surviving copy — no other transmitted version has yet been found — so its precise origin and lineage of transmission remain to be further researched. The title may draw on the idea of “Zhuangzi’s Butterfly Dream” (庄周梦蝶), evoking a state of forgetting the boundary between self and world, of transcendence and ease. However, the character 欢 (“joyful”) is relatively uncommon in traditional qin piece titles, so whether the title is indeed connected to the Zhuangzi story also awaits further verification.

本曲注明“角音”，共四段，并泛起、泛终，结构清晰，具有近代传统琴曲的风格及特征。

The score is marked 角音 (jiao note/mode) and consists of four sections (段), opening and closing on harmonics (泛起、泛终). Its structure is clear and carries the style and characteristics of modern traditional qin repertoire.

每段主题皆为同音不同位的变奏，旋律素材高度集中。第一段多为单音旋律；第二段在大量保留相同音高旋律的基础上，加入“拨”及“撮”等双音指法；第三段移至上准演奏，形成高八度的主题旋律；第四段再度回到下准演奏，并结合泛音、双音等指法，将相同音高的旋律改以不同琴弦及徽位演奏。打谱版本中第34小节与第38小节，亦可见传统琴曲中常见的变奏发展形式。

Each section's theme is a variation on the same pitch material played at different positions, so the melodic material is highly concentrated. The first section is largely a single-note melody; the second retains much of the same melodic pitch content while introducing two-note fingering techniques such as bo (拨) and cuo (撮); the third moves to the upper register (上准), forming the theme an octave higher; the fourth returns to the lower register (下准), combining harmonics and double notes to render the same melodic pitches on different strings and hui positions. Measures 34 and 38 of the transcribed version also show the kind of variation development commonly found in traditional qin pieces.

经钟之岳先生整理、打谱，沉寂多年的古谱重新焕发弦音。此次打谱并非简单将减字谱转换为五线谱或简谱，而是以原谱减字谱为基础，根据清晰可辨的句读提示直接视谱演奏。通过反复演奏，使节奏、速度与气息在实践中逐渐沉淀，最终形成较为符合个人音乐经验与审美习惯的“自然版本”。

Through Mr. Zhong Zhiyue's transcription (dapu), this long-silent ancient score has once again come to sound on the strings. This transcription was not simply a matter of converting jianzipu into staff or numbered notation; rather, it worked directly from the original jianzipu, sight-reading and performing according to the clearly discernible phrasing cues within it. Through repeated playing, rhythm, tempo and breath were gradually allowed to settle through practice, ultimately forming a “natural version” consistent with the transcriber's own musical experience and aesthetic sensibility.

钟之岳先生认为，传统琴曲的创作习惯是以指法思维为核心，而非单纯建立于音高、旋律与节奏之上。因此，打谱过程中尤其重视对原谱指法的理解与还原，通过反复演奏体会其中的用指逻辑，以达到打谱中的“移情”效果。若仅将减字谱对应的音高进行简单排列，所得打谱作品亦可能失去传统琴曲本身的韵味。

Mr. Zhong holds that the compositional habits of traditional qin music are centred on fingering logic, rather than being built purely on pitch, melody and rhythm. For this reason, the transcription process placed particular emphasis on understanding and restoring the original fingering, using repeated playing to grasp the underlying logic of finger movement, in order to achieve the effect of “empathetic transference” (移情) in dapu. A transcription that merely arranges the pitches implied by the jianzipu risks losing the very character that gives traditional qin music its flavour.

由于本曲暂为孤本，无法通过同曲异本的版本比较来辅助打谱。在初步弹奏后，笔者参考贾阔峰传谱的《韦编三绝》，从音乐结构及指法习惯等方面寻找借鉴。两曲均采用旋律变奏，并通过改变音高、指法等方式展开。打谱过程中，笔者反复回想《韦编三绝》所遗留的乐瑛演奏版本录音，将传统琴人的演奏风格融入个人演奏习惯，包括无固定拍数的演奏特点、指法衔接的速度处理、相同旋律的节奏处理，以及通曲演奏中的气息变化等。

As this piece currently survives as a sole copy, it was not possible to draw on comparison between different transmitted versions of the same piece to aid the transcription. After an initial reading, the author turned to Wei Bian San Jue (《韦编三绝》), as transmitted by Jia Kuofeng, for reference in terms of musical structure and fingering habits. Both pieces employ melodic variation, unfolding through changes in pitch and fingering. During the transcription process, the author repeatedly recalled the recording of Yue Ying's performance of the surviving version of Wei Bian San Jue, incorporating the performance style of traditional qin players into personal playing habits — including phrasing without a fixed beat count, the pacing of transitions between fingerings, the rhythmic treatment of repeated melodies, and the shifts of breath across the piece as a whole.

谱中亦出现一些并不常见的减字谱指法。如打谱版本第3小节，经研究并征询其他琴人意见后，最终确定为“微”的异体字“㣲”的减字，此处指“微吟”，即小幅度的本音揉弦。这也体现了减字谱在不同地区流传过程中所产生的流变及地方特征，为古琴艺术研究提供了新的素材与方向。

The score also contains some uncommon jianzipu fingering notations. For example, in measure 3 of the transcribed version, after research and consultation with other qin players, the character was finally identified as 㣲, a variant form of 微 (“subtle”), here indicating wei yin (微吟) — a vibrato of small amplitude on the stopped note. This also reflects the kind of regional variation and local character that jianzipu develops as it circulates across different regions, offering new material and new directions for the study of guqin art.

虽然乐谱注明“角音”，但笔者在演奏及打谱过程中并未刻意强调这一音，即A音（按正调仲吕均弹）。然而记谱后却发现，自己在不自觉中多次强调了“角音”的存在：或拉长时值，或置于句首强音处，或作为句尾落音。这一现象或可见本曲写作之精妙，也体现了传统琴曲本身所具有的音乐共性。琴人在传统琴曲的熏陶下，或会在打谱过程中形成一定的共性，甚至与原曲作者在音乐语言和艺术审美上产生一种跨越时空的“感应”。

Although the score is marked 角音 (jiao note), the author did not consciously emphasise this pitch — the note A, when played in zhengdiao zhonglü tuning (正调仲吕均) — during performance or transcription. Yet upon notating the piece, it became clear that the jiao note had, without conscious intention, been repeatedly emphasised: sometimes given a longer duration, sometimes placed as an accented note at the start of a phrase, sometimes used as the closing note of a phrase. This phenomenon may reveal the subtlety of the piece's original composition, and also reflects a musical commonality inherent to traditional qin repertoire itself. Steeped in the tradition of qin music, a player may, in the course of transcription, develop certain shared instincts with the piece — even arriving at a kind of “resonance” with the original composer across time, in musical language and artistic sensibility.

虽然笔者有超过三十年的乐龄、十五年的琴龄，并有大量的作曲、编曲经历，但本曲却是本人第一首真正意义上的传统琴曲打谱作品。由于长期受到西方音乐及现代音乐的影响，对于如何保留或还原传统琴曲的精神始终较为慎重。此次打谱使笔者进一步体会到，传统琴曲的打谱不仅是谱面的还原，更是对指法、句读、节奏、气息及传统音乐语言的重新理解。

Although the author has more than thirty years of musical experience and fifteen years of guqin practice, along with extensive experience in composition and arrangement, this piece is nonetheless the author's first work of dapu in the true sense of transcribing a traditional qin piece. Having long been influenced by Western and contemporary music, the author has always approached the question of how to preserve or restore the spirit of traditional qin music with a degree of caution. This transcription brought a deeper realisation: the dapu of traditional qin music is not merely a restoration of the notation on the page, but a renewed understanding of fingering, phrasing, rhythm, breath, and the musical language of tradition itself.

本次琴箫和鸣演出，为《欢蝶梦》的首次公开演绎。

This performance, presented as a duet of guqin and xiao (琴箫和鸣), marks the first public performance of Huan Die Meng.

古谱自闽南远渡南洋，历经百年流转，终于重新响起于海外琴坛。《欢蝶梦》的发现与打谱，不仅使一部尘封已久的琴曲重见天日，也为南洋地区古琴音乐遗存的研究提供了新的材料。

Having travelled from southern Fujian to Nanyang, the ancient score has, after a century of circulation, finally sounded again within the overseas guqin community. The discovery and transcription of Huan Die Meng not only brings a long-dormant piece back into the light, but also offers new material for the study of guqin musical heritage in the Nanyang region.

笔者希望未来能够在本地继续发掘更多鲜为人知的琴曲与琴事，使这些尘封已久的音乐遗存重新进入当代视野，为古琴艺术的传承与研究添砖加瓦。

The author hopes to continue uncovering more little-known qin pieces and qin history locally in the future, bringing these long-dormant musical remnants back into contemporary view, and contributing in some small way to the transmission and study of the art of the guqin.

笔者能力有限，研究过程中难免有不足或错误之处，敬请读者批评指正。

The author's abilities are limited, and errors or shortcomings are inevitable in the course of this research; readers' criticism and corrections are welcomed.