先秦筝乐文化

发布时间：2018-06-23 15:27

本文选题：筝 + 秦筝　；参考：《陕西师范大学》2003年硕士论文

【摘要】： 先秦时期是中国历史的重要转型期，从奴隶社会的衰落到封建社会的兴起。这一时期在政治、经济各方面都有突飞猛进的发展；在文化方面则呈现出“百家争鸣”“百花齐放”的欣欣向荣的局面。器乐方面，继西周时期以乐器制作材料而划分“八音”，，将丝弦乐器分为琴、瑟两种以后，春秋战国时期又加入了筝、筑等乐器，而筝则是这一时期最具代表性的乐器，以至成为秦国音乐文化的象征。全文共分三个部分。第一部分，秦筝的音乐文化背景。“秦筝”含义：一是泛指中国筝，二是特指秦地风格的筝乐；秦人及其传统音乐；秦代“乐府”及筝在秦宫廷的地位。通过以上几点的分析，结论如下：秦人的传统音乐受自身民族形成的影响，来自西周庙堂乐和游牧民族的自由长调；秦宫廷所沿袭的是西周雅乐；秦代“乐府”已经“弃秦筝，就郑卫”，秦始皇以喜好“俗乐”而代替秦传统音乐。第二部分，先秦时期的筝乐艺术。有关筝乐的史料记载：有关筝乐的考古发现；筝和瑟、筑的关系；筝的形制；先秦时期筝的演奏形式；筝的弹奏方法及其义甲。通过以上几点分析，得出结论：筝在先秦时期正史记载是公元前237年，《史记·李斯列传》中，考古发现是在公元前500年，地点一是在江西贵溪(先秦时期的越国)；二是在浙江绍兴。但无史料记载，有待确凿理论依据；通过筝与筑、瑟的比较，得出筝的形制：类似长方形的盒子，有一个共鸣箱，表面是面板，质地有竹质和木质的，有弦，有筝码，五弦和十三弦共存；筝的演奏形式是处于一种合奏、伴奏的状态，通过考古发现，已经初步认定在先秦时期有类似义甲的代替品。第三部分，《谏逐客书》引发的秦音乐文化发展走向。通过对《谏逐客书》的分析研究，得出以下结论：秦筝是从民间入主宫廷又由宫廷流落到民间的循环传播发展规律；先秦时期音乐文化发展走向分为三个阶段：第一阶段，从秦建国开始至商鞅变法时期，这时期的音乐文化主要来自本国和本族，即来自西周庙堂乐和少数游牧民族的自由长调，二者综合为一体构成秦国的传统音乐。第二阶段是秦商鞅变法开始至秦始皇统治阶段，这一时期的文化广泛吸收六国文化的精华。第三阶段是秦始皇统治阶段至其建立第一个封建国家，这一阶段不仅是对六国文化的广泛吸收，同时也是对本国的部分传统文化的丢弃和对本族优秀传统文化加以发扬传播：先秦时期音乐文化特性：包容性，指积极地吸取六国文化的精华，功利性，吸取别国的优秀文化，形成了文化双向传递的特征。其目的是为了自己更好地统治国家，开放性，指在秦始皇统一全国之后，同样把符合帝王意志的音乐及音乐思想再一次的传入新统一的地区。
[Abstract]:The period of the pre Qin period was an important period of transformation of Chinese history, from the decline of the slave society to the rise of the feudal society. This period has developed rapidly in all aspects of politics and economy; in the cultural aspect, there is a flourishing situation of "contending a hundred schools of contention" and "letting a hundred flowers bloom together". Instrumental music is made of musical instruments in the Western Zhou Dynasty. And divide the "eight tone", divide the string instruments into the harp, after the two kinds, the spring and Autumn period and the Warring States period joined the zither, build and other instruments, and the Zheng is the most representative instrument in this period, and became the symbol of the music culture of the Qin State. The full text is divided into three parts.
The first part, the musical cultural background of Qin Zheng, the meaning of "Qin Zheng": first, it refers to Chinese Zheng, two is the zither music of Qin Dynasty style, Qin people and their traditional music; the Qin Dynasty "yue fu" and Zheng's position in the court of Qin Dynasty. Through the analysis of the above points, the conclusions are as follows: the influence of Qin people's music is from the formation of its own nation, from the West. The free and long tune of the Zhou Temple music and the nomadic people; the Qin palace was followed by the Western Zhou Yale; the Qin Dynasty "Yuefu" has "abandoned Qin Zheng, Zheng Wei", and Qin Shihuang instead of the traditional music of Qin Dynasty instead of Qin.
The second part, the zheng music art in the pre Qin period. The historical records about the zither music: the archaeological discovery of Zheng music, the relationship between Zheng and Joseph, the form of Zheng, the form of Zheng in the pre Qin period, the method of playing the Zheng and its Yi Jia. Through the analysis of the above points, it is concluded that the Zheng records in the pre Qin period are 237 B.C., < history. In the biography of the biography of Li Si, the archaeological discovery was found in 500 BC. The site was in Guixi, Jiangxi (the Vietnam of the pre Qin period), and the two was in Shaoxing of Zhejiang. But there was no historical records, but there was no historical record. Quality and wood, strings, guzheng code, five chords and thirteen strings coexist; the form of Guzheng playing is in a kind of ensemble, the state of accompaniment, through archaeological discovery, it has been preliminarily identified as a substitute for a similar sense in the pre Qin period.
The third part is the development trend of Qin music culture. Through the analysis and study of the book, the following conclusions are drawn: the Qin Zheng is from the folk court to the court and from the court to the folk. The development trend of the music culture in the pre Qin period is divided into three stages: the first stage, starting from Qin Jianguo In the period of the Shang Yang transformation, the music culture of this period mainly came from the country and the family, that is, the temple music of the West Zhou Dynasty and the free and long tune of a few nomadic people, the two were integrated into the traditional music of the Qin Dynasty. The second stage was the Qin Shihuang rule from the Qin Dynasty to the beginning of the Qin Shihuang, and the culture of this period absorbed the essence of the culture of the six countries. The third stage is the period from Qin Shihuang's rule to the establishment of the first feudal state. This stage is not only about Liu Guowen.
It is widely absorbed, and it also discards some traditional cultures and adds excellent traditional culture to our country.
To spread and spread: the characteristics of music culture in pre Qin period: inclusiveness, which means absorbing the essence of six cultures.
Utilitarianism, absorbing the excellent culture of other countries, forms the characteristic of two-way transmission of culture.
Better governing the country, openness means that after Qin Shihuang unified the country, he also accords with the emperor's will.
Music and music were once again introduced into the new unified area.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2003
【分类号】：J609.2

【引证文献】