论中日两国筝流派的差异及其文化变迁原因

发布时间：2018-03-10 01:19

本文选题：中国筝　切入点：日本筝　出处：《上海音乐学院》2006年硕士论文　论文类型：学位论文

【摘要】：筝在中国已有2500至3000年的历史了，是地道的华夏传统乐器。早期的筝为五弦，随着时代的发展，筝的弦数不断增加，至盛唐时期十三弦筝趋于普及。此时正值日本的奈良时期(710～794年)，十三弦筝随着中国的燕乐传入日本，成为日本雅乐管弦合奏的乐器之一，称为乐筝。后来一部分流落到寺院和民间，，先后形成了“筑紫筝”和“俗筝”，产生了生田流、山田流两派直到现在。从此筝在中日两国沿着不同的轨迹在发展，日本自俗筝产生之始就形成了流派，并且形制和弦数都没有改变；而中国筝发展到20世纪50年代，二十一弦趋于普及，并且学术界对流派开始比较统一的以地域划分并以具体省份命名，本文就中日两国筝流派的差异从以下几个方面作一比较：1，流派形成的时间规律；2，流派形成的原因和条件；3，流派的部分音乐形态：4，流派的传承。本文历史音乐学和民族音乐学的研究方法就以上四个方面对中国二十一弦筝和日本十三弦筝所各自形成的流派进行比较分析，并试图通过日本特色文化的形成、两国不同的民族性、日本家元制度以及两国儒家思想的不同核心点等方面解析中日两国在不同的文化环境中所展开的筝乐含义，从而解构这种生存现象后的深层意义和文化变迁原因。
[Abstract]:Zheng has a history of 2, 500 to 3000 in China. It is a traditional Chinese musical instrument. The early zither was five strings. With the development of the times, the number of zither strings has been increasing. At that time, during the Nara period of Japan, 13 strings Zheng was introduced into Japan with the Yan music from China, and became one of the instruments of Japanese Artemis orchestral ensemble. Later, a part of the temple and folk, has formed "Zizheng" and "vulgar Zheng", resulting in the birth of Tian Liu, Mountain Tian Liu two schools until now. Since then, the zither has developed along different tracks in China and Japan. Since the beginning of the generation of the popular Zheng, Japan has formed a school, and the number of shapes and chords has not changed. In 1950s, the Chinese Zheng developed, and the 21 strings tended to become popular. And the academic community began to unify the schools by dividing them into regions and naming them after specific provinces. This paper compares the differences of Zheng schools between China and Japan from the following aspects: 1, the time law of the formation of the schools, the reasons and conditions for the formation of the schools, the music form of the schools: 4, and the inheritance of the schools. The research methods of historical musicology and ethnomusicology in this paper compare and analyze the schools of Chinese 21 string Zheng and Japanese 13 string Zheng in the above four aspects, and try to form the culture with Japanese characteristics. The different national characteristics of the two countries, the Japanese Jiayuan system and the different core points of Confucianism between the two countries, and so on, to analyze the meaning of Zheng music developed by China and Japan in different cultural environments. In order to deconstruct the existence of this phenomenon after the deep meaning and cultural changes.
【学位授予单位】：上海音乐学院
【学位级别】：硕士
【学位授予年份】：2006
【分类号】：J632.32

【引证文献】