藏族扎念琴的设计改良

发布时间：2018-04-04 15:29

本文选题：扎念琴　切入点：改良扎念琴　出处：《中央民族大学》2011年硕士论文

【摘要】：扎念琴是藏族最具有代表性的弹拨乐器,在藏区传播广泛,在长久的流传过程当中形成了多种表演风格,并运用在多个乐种当中。新中国成立之后,有相关学者和工作人员对其进行过改良,使扎念琴的音色、音量和音域等方面都有所改进,增加了扎念琴的表现力,并将其加入到了民族管弦乐队当中,从而使扎念琴的影响力有所提升。但是,到目前为止,我们对扎念琴所做的工作依然有一定的提升空间。具体的说,主要表现在以下几个方面： 1.现有扎念琴的音域小,其运用基本都是作为低音伴奏,音乐表现力十分有限。 2.扎念琴在演奏时,基本限于低把位,这对一种有效弦长较大的乐器来说无疑是一种浪费,这也导致了扎念琴的演奏法并不丰富的现状。 3.扎念琴的声音衰减速度快,不适合表现旋律,而藏族很多乐种都带有很强的旋律性,如果这些乐种能够用藏族本民族的改良乐器来表现,这无论是对扎念琴、藏族音乐,还是藏族文化来说都不失为一件好事。 4.从制作角度来讲,藏区的扎念琴没有一套固定的制作标准,更没有相关的制作图纸,从设计到尺寸都带有较强的随意性,这与其口传心授传授方式有关。 5.据笔者几次采风了解得知,藏区很多扎念琴制琴师并不会弹奏扎念琴,其中大多为木匠,不懂音律。制作人员不专业也是扎念琴规格不统一的一个重要原因。本篇论文最主要的内容是提出一套有科学理论支撑的扎念琴改良方法：首先在形制改良方面,借鉴以往扎念琴制作以及西方制琴理论,整理出规范的改良图纸,并且在改良过程中,在外形方面尽可能向藏族传统美学观念靠近。在功能改良方面,力图使得此种改良扎念琴可以在音域、音色上大幅提高,制作良好的手感系统,将扎念琴的高把位充分发挥,并在原有技巧上从其他的乐器上借鉴新的演奏法,能够适应更多的乐曲、乐种。希望改良后的扎念琴无论是藏族还是其他民族都能够被很好的接受,从而吸引更多的作曲家去为它“量身打造”创作乐曲,使扎念琴及藏族文化得到更好的传播与发展。
[Abstract]:Zanningqin is the most representative of Tibetan plucked instruments, widely spread in the Tibetan area, in the long spread of the formation of a variety of performance styles, and used in many kinds of music.Since the founding of the people's Republic of China, some scholars and staff have improved it, so that the tone, volume and range of the piano have been improved, and the performance of the piano has been increased, and it has been added to the national orchestra.So that the influence of playing the piano has been enhanced.However, so far, there is still room for improvement in the work we have done to play the harp.Specifically, mainly in the following aspects:1.The existing piano has a small range, its use is basically as bass accompaniment, music performance is very limited.2.When playing the harp, it is basically limited to the lower position, which is undoubtedly a waste for an effective instrument with a long string, which also leads to the present situation that the playing method of playing the harp is not rich.3.The sound of playing the harp attenuates quickly and is not suitable for the performance of melodies. However, many kinds of Tibetan music have a strong melody. If these kinds of music can be expressed with the improved musical instruments of the Tibetan people, whether it is for playing the harp or for Tibetan music,Or Tibetan culture is a good thing.4.From the point of view of production, the harp in Tibetan area has not a set of fixed production standards, and there is no related drawing. From design to size, there is a strong arbitrariness, which is related to the way of oral instruction.5.According to several times, I know that many harp players in Tibetan area do not play the harp, most of them are carpenters, do not understand the rhythm.Unprofessional producers are also an important reason for the inconsistent specifications of the harp.The main content of this paper is to put forward a set of scientific theory to improve the Zhanqin:First of all, in the aspect of shape improvement, drawing lessons from the previous making of harp and western theory of piano making, we can sort out the standard improvement drawings, and in the process of improvement, we should try our best to approach the traditional Tibetan aesthetic concept in the aspect of appearance.In the aspect of function improvement, we try to improve the sound range and tone color of the improved harp, make a good handle system, and give full play to the high handle of the harp.And in the original skills from other instruments to learn from the new playing method, can adapt to more music, music.It is hoped that the improved Zhanqin will be well accepted by both the Tibetan and other ethnic groups, thus attracting more composers to create music for it, so as to better spread and develop the harp playing and Tibetan culture.
【学位授予单位】：中央民族大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J632.39

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