扬琴中国化研究

发布时间：2018-05-30 20:34

  本文选题：历史 + 形制　； 参考：《中国音乐学院》2016年博士论文

【摘要】：本文从民族音乐学的角度,以中国扬琴为例,以历史文献和田野材料为据,讨论扬琴及其音乐文化的变迁。中西文化交通历史悠久,自汉代张骞出使西域至唐玄奘西行取经,到郑和下西洋至明清时期的传教士东来,音乐是中西交通中不可缺少的表现形式,音乐承载着文化交通中人们的思想与智慧,扬琴便是中西音乐文化交通中的标识之一。据资料记载,扬琴于明清时期传入中国进入到民间,与民间音乐相融合,逐渐成为民间音乐中不可缺少的乐器之一。中华人民共和国成立后,扬琴向专业化发展,进入各地方专业学校及乐团。回顾外来扬琴传入中国的历程,它经历了从民间作坊到专业团队、从地方流派到全国普及的发展过程,扬琴已经实实在在地成为中国的民族乐器,在民族音乐中发挥着重要的作用。本文围绕这一乐器,即关注扬琴音乐历时性传承发展过程,同时关注扬琴音乐共时存在的形态现象,运用田野调查和文献互证的方法,探索扬琴由“洋”到“扬”这一乐器文化属性方面的演变过程,透过这些文化元素探索扬琴四百多年具象的外在历史演变轨迹,以至于在当下的民族音乐环境中,更好地传承中国音乐文化,更好地彰显民族文化。作为人与音乐之间的物质载体,扬琴把抽象的音乐观念用具体的乐器形式体现出来,因此研究乐器所承载的信息,是了解外来文化中国化的重要途径。第一章围绕二十世纪至二十一世纪国内学者针对扬琴历史渊源的热点问题进行分析调研:论述扬琴起源的三种见解,笔者在前人研究的基础上,进一步补充扬琴与古代拨弦乐器有着密不可分的论证关系;论述世界扬琴的名称、分布、形制、功能;分析扬琴传入中国的两种路径。第二章从乐器改革的角度,论述外来扬琴本土化的变迁,分别从扬琴的形制、材质、音位排列的规律分析中国化的内因,即扬琴受中国地理生态环境、社会环境等相关音乐文化传统因素影响,制作出适用于中国民间音乐的乐器。第三章从乐器存在方式的角度,论述扬琴十八世纪至二十世纪三百多年的变迁,分别从民间音乐曲种、剧种、乐种和少数民族民间器乐四种音乐种类,论述扬琴中国化的演变,通过田野调查与史料文献相互参照的方法,说明外来扬琴成为中国民族民间乐器,与中国各地方人民的生活习俗、行为方式、思想观念等文化事项密不可分。第四章从音乐本体的角度,论述扬琴音乐形态的变迁,透过不同音乐文本资料的比较,分析扬琴音乐曲调来源、曲目类型、曲式结构、演奏技法等音乐本体在不同时期的风格特征。第五章从乐器的文化功能角度,论述扬琴在不同时期社会文化活动中的作用,透过音乐的表现方式反映了中国传统文化观念作用下的扬琴中国化历程。
[Abstract]:From the point of view of ethnomusicology, taking the Chinese yangqin as an example, taking the historical documents and field materials as the basis, this paper discusses the changes of the yangqin and its musical culture. There is a long history of cultural communication between China and the West. From Zhang Qian's mission to the Western regions in the Han Dynasty to the westward journey of Xuanzang in the Tang Dynasty and to the eastward arrival of missionaries from Zheng he's expedition to the Western Ocean to the Ming and Qing dynasties, music is an indispensable form of expression in the communication between China and the West. Music carries people's thoughts and wisdom in cultural traffic, and yangqin is one of the symbols in Chinese and western musical cultural traffic. According to the records, the yangqin was introduced into China in the Ming and Qing dynasties, and merged with folk music, and gradually became one of the indispensable instruments in folk music. After the founding of the people's Republic of China, dulcimer to professional development, into the local professional schools and orchestras. Looking back on the course of the introduction of foreign yangqin into China, it has experienced a process of development from folk workshops to professional teams, from local schools to the popularization of the whole country. The yangqin has actually become a national musical instrument in China. Play an important role in folk music. This paper focuses on this instrument, that is, pay attention to the diachronic inheritance and development process of yangqin music, at the same time, pay attention to the synchronic phenomenon of yangqin music, and use the method of field investigation and literature to prove each other. To explore the evolution process of yangqin's cultural attribute from "foreign" to "Yang", and through these cultural elements to explore the external historical evolution path of Yangqin's appearance for more than 400 years, so that in the present national music environment, Better inheritance of Chinese music culture, a better manifestation of national culture. As the material carrier between man and music, the yangqin embodies the abstract musical concept in the form of specific musical instruments. Therefore, studying the information carried by musical instruments is an important way to understand the localization of foreign cultures. The first chapter focuses on the domestic scholars from the 20th century to the 21 century to analyze the hot issues of the historical origin of the yangqin: discusses the origin of the yangqin three views, the author on the basis of previous studies, Furthermore, it is proved that the yangqin has a close relationship with the ancient instruments, discusses the name, distribution, shape and function of the world yangqin, and analyzes the two ways of the yangqin's introduction into China. The second chapter discusses the changes of the localization of foreign yangqin from the angle of musical instrument reform, and analyzes the internal causes of Sinicization from the aspects of the shape, material and phonetic arrangement of the yangqin, that is, the yangqin is under the Chinese geographical ecological environment. Influenced by social environment and other traditional factors of music culture, musical instruments suitable for Chinese folk music have been made. The third chapter discusses the changes of the yangqin from the 18th century to the 20th century from the point of view of the existence of musical instruments. It discusses the evolution of the yangqin in China from four kinds of music, namely, folk music, drama, music and folk instrumental music of minority nationalities. By cross-referencing the field investigation and historical documents, it is shown that the foreign yangqin is closely related to the cultural issues such as the living customs, behavior patterns, ideology and other cultural issues of the people in various parts of China, such as the foreign yangqin as a folk musical instrument of the Chinese nation. The fourth chapter discusses the changes of the musical form of yangqin from the point of view of the music ontology. Through the comparison of different musical texts, it analyzes the origin, the type and the structure of the tunes of the yangqin music. Performance techniques and other musical Noumenon in different periods of style characteristics. The fifth chapter discusses the role of yangqin in the social and cultural activities in different periods from the perspective of the cultural function of musical instruments, and reflects the Chinese process of yangqin under the influence of Chinese traditional cultural concepts through the expression of music.
【学位授予单位】：中国音乐学院
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J632.51
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本文编号：1956713