琵琶文化论
发布时间：2018-08-11 19:26
【摘要】： 《琵琶文化论》运用民族音乐学的方法，试图对中国琵琶及其音乐的文化位置、文化渊源、文化内涵及文化审美心理作一较为全面的论述。 第一章，把中国琵琶放置在世界乐器文化中来考察它的位置，认为：中国琵琶属于弦鸣乐器类的复合弦乐器的琉特琴中的长颈琉特琴。其主要特征是：弦鸣，拨弹，有相有品。 第二章，从琵琶的名称、形制、演奏姿势、弹奏方式等方面入手，考察中国琵琶的文化渊源。得出结论：先有中国的秦琵琶、汉琵琶，后有外来的曲项琵琶，，再通过中外琵琶的交流融合而改造为当代中国琵琶。 第三章，从时代性积淀(文曲、武曲、文武曲)、地域性积淀(乐种琵琶)、流派性积淀(各琵琶流派)来阐述中国琵琶及其音乐的文化内涵。 第四章认为琵琶音乐所体现的中华民族的文化审美心理特征主要表现在：兼具雅俗的音乐审美特征，音乐中对于文学题材及标题性的追求，演奏技法中对于噪音的有限度的有效的运用。
[Abstract]:By using the method of ethnomusicology, this paper attempts to make a more comprehensive discussion on the cultural position, cultural origin, cultural connotation and cultural aesthetic psychology of Chinese pipa and its music. In the first chapter, the author puts the Chinese pipa in the world musical instrument culture to investigate its position, and points out that the Chinese pipa belongs to the long-necked lute in the lute of the compound stringed instrument. Its main characteristics are: string ringing, plucking bomb, there is a phase of goods. The second chapter examines the cultural origin of Chinese pipa from the aspects of its name, shape, playing posture and playing style. The conclusion is that there are Qin pipa of China, pipa of Han Dynasty, pipa of foreign music, and then transformed into contemporary Chinese pipa through the exchange and fusion of Chinese and foreign pipa. The third chapter expounds the cultural connotation of Chinese pipa and its music from the historical accumulation (Wen qu, Wu qu, Wen Wu qu), regional accumulation (music species and pipa), genre accumulation (all kinds of pipa schools). In the fourth chapter, the author thinks that the cultural aesthetic psychological characteristics of the Chinese nation embodied in pipa music are mainly embodied in the following aspects: the aesthetic characteristics of music with elegance and vulgarity, the pursuit of literary subject and title in music. A limited and effective use of noise in playing techniques.
【学位授予单位】：福建师范大学
【学位级别】：硕士
【学位授予年份】：2002
【分类号】：J632.33;J60-05
本文编号：2178009
[Abstract]:By using the method of ethnomusicology, this paper attempts to make a more comprehensive discussion on the cultural position, cultural origin, cultural connotation and cultural aesthetic psychology of Chinese pipa and its music. In the first chapter, the author puts the Chinese pipa in the world musical instrument culture to investigate its position, and points out that the Chinese pipa belongs to the long-necked lute in the lute of the compound stringed instrument. Its main characteristics are: string ringing, plucking bomb, there is a phase of goods. The second chapter examines the cultural origin of Chinese pipa from the aspects of its name, shape, playing posture and playing style. The conclusion is that there are Qin pipa of China, pipa of Han Dynasty, pipa of foreign music, and then transformed into contemporary Chinese pipa through the exchange and fusion of Chinese and foreign pipa. The third chapter expounds the cultural connotation of Chinese pipa and its music from the historical accumulation (Wen qu, Wu qu, Wen Wu qu), regional accumulation (music species and pipa), genre accumulation (all kinds of pipa schools). In the fourth chapter, the author thinks that the cultural aesthetic psychological characteristics of the Chinese nation embodied in pipa music are mainly embodied in the following aspects: the aesthetic characteristics of music with elegance and vulgarity, the pursuit of literary subject and title in music. A limited and effective use of noise in playing techniques.
【学位授予单位】：福建师范大学
【学位级别】：硕士
【学位授予年份】：2002
【分类号】：J632.33;J60-05
【引证文献】
相关期刊论文 前1条
1 车颖;;论古代文学作品中的琵琶意象[J];求索;2012年12期
相关博士学位论文 前2条
1 王东雪;当代泉州南音传承社会运行机制研究（1980年至今）[D];福建师范大学;2011年
2 王妍妍;刘德海琵琶演奏艺术研究[D];南京艺术学院;2010年
相关硕士学位论文 前2条
1 亢爽;琵琶曲中英雄性、悲剧性的审美表现[D];上海音乐学院;2011年
2 鱼翔;汪派琵琶文武大套曲的艺术特征[D];天津音乐学院;2007年
本文编号：2178009
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