明清时期西方键盘乐器在中国传播管窥
发布时间：2018-09-06 11:34
【摘要】：本文以管风琴、古钢琴、风琴和钢琴为研究对象，以明清时期社会历史背景为基点，从中西文化交流的视角出发，立足于丰富翔实的文献资料，对明清时期西方键盘乐器在中国的传播历程进行了初步地梳理与研究，并就传播中的特点及影响其传播的原因作以较深入地分析，最后探讨了它对近代中国音乐的发展所具有的深远影响。目的在于较为清晰地再现这段历史原貌，从而进一步拓展中国音乐史学的研究领域。全文共分三部分。 第一部分：绪论 此部分提出四个问题：本课题的目的与意义，目前的研究现状，研究方法及写作思路。 第二部分：主体部分 分三章进行阐述。 第一章，从西乐中传的历史背景入手，对明清时期西方键盘乐器在中国传播的途径作了扼要的阐述。其主要观点有：西方键盘乐器是伴随西方殖民主义的海外扩张而传入我国的，通过宗教、商人、外国使臣和战争四个途径进行传播。 第二章，论述了管乐性键盘乐器在中国的传播脉络。第一节，从传入时间、名称、形制构造及特点、以及各时期传播情况等方面，对元代的“兴隆笙”、澳门三巴寺之“风琴”及清代的“管琴”作了历时性回顾。认为元代回回国进献的“兴隆笙”是传入中国最早的西方键盘乐器，管风琴在中国的传播可分为三个阶段，并在乐器名称、传播主体、传播途径及功用等方面体现出不同特征。 第二节，通过中国人关于风琴的见闻录，王肇桓与“众和”风琴厂以及风琴在社会上的传播三个方面对风琴的传播脉络作了整理与研究。其主要内容有王肇桓创立的“众和”风琴厂是我国近代第一个风琴制造厂，，新式学堂与教会学校中“琴科”的设立以及留日学生和日籍教员对风琴的传播。 第三章，论述了弦乐性键盘乐器在中国的传播脉络。第一节，主要论及两大问题。一是[明]万历年间利玛窦所献古钢琴，二是[清]康乾时期的古钢琴。前者从利氏之琴“二进”皇宫，西琴的形制与构造以及《西琴曲意》三个方面对利氏所献之琴作了全面阐述，并认为利玛窦是将击弦式古钢琴(Clavica)引入皇宫的第一人；后者对康乾时期宫中的古钢琴进行了具体介绍，其主要内容有[清]康熙年间
[Abstract]:This article takes the organ, the ancient piano, the organ and the piano as the research object, taking the social and historical background of the Ming and Qing dynasties as the basic point, starting from the angle of the cultural exchange between China and the West, based on the rich and solid literature. This paper makes a preliminary study on the spreading process of western keyboard instruments in China during the Ming and Qing dynasties, and makes a deeper analysis on the characteristics of communication and the reasons that affect the spread of keyboard instruments. Finally, it discusses its profound influence on the development of modern Chinese music. The purpose is to reappear the history clearly and further expand the research field of Chinese music history. The full text is divided into three parts. The first part: introduction this part puts forward four questions: the purpose and significance of this subject, the present research situation, the research method and the writing thought. The second part: the main part is divided into three chapters. The first chapter, starting with the historical background of the Western Music in China, briefly expounds the ways of spreading western keyboard instruments in China during the Ming and Qing dynasties. The main points are as follows: Western keyboard instruments were introduced into China with the overseas expansion of Western colonialism, which were spread through four channels: religion, merchants, foreign envoys and wars. The second chapter discusses the transmission of wind keyboard instruments in China. The first section, from the introduction time, the name, the shape structure and the characteristic, as well as each period dissemination situation and so on, has made the diachronic review to Yuan Dynasty's "Xinglongsheng", Macao's "organ" and the Qing Dynasty's "Guan Qin". It is considered that "Xinglongsheng", which was brought back to China in Yuan Dynasty, was the earliest western keyboard instrument introduced into China. The dissemination of organ in China can be divided into three stages, and different characteristics are reflected in the name of the instrument, the main body of communication, the way of communication and the function of the instrument. The second section, through the Chinese people about the organ, Wang Zhaohuan and the "Zhonghe" organ factory and the organ in the social dissemination of three aspects of the collation and research on the transmission of organ. The main contents include the "Zhonghe" organ factory founded by Wang Zhaohuan, which is the first organ factory in modern China, the establishment of "piano" in the new-style school and the church school, and the dissemination of organ by Japanese students and Japanese teachers. The third chapter discusses the transmission of string keyboard instruments in China. The first section mainly deals with two major issues. One is the ancient piano presented by Matteo Ricci in Wanli and the other is the ancient piano in Kangqian period. The former elaborated the lyre from three aspects: "Erjin" palace, the form and structure of Xiqin and the meaning of "Xiqin", and considered that Ricci was the first person to introduce (Clavica) into the palace. The latter made a specific introduction to the ancient piano in the Kang-Qian period, the main contents of which were the Kangxi period.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2006
【分类号】：J609.2
本文编号：2226224
[Abstract]:This article takes the organ, the ancient piano, the organ and the piano as the research object, taking the social and historical background of the Ming and Qing dynasties as the basic point, starting from the angle of the cultural exchange between China and the West, based on the rich and solid literature. This paper makes a preliminary study on the spreading process of western keyboard instruments in China during the Ming and Qing dynasties, and makes a deeper analysis on the characteristics of communication and the reasons that affect the spread of keyboard instruments. Finally, it discusses its profound influence on the development of modern Chinese music. The purpose is to reappear the history clearly and further expand the research field of Chinese music history. The full text is divided into three parts. The first part: introduction this part puts forward four questions: the purpose and significance of this subject, the present research situation, the research method and the writing thought. The second part: the main part is divided into three chapters. The first chapter, starting with the historical background of the Western Music in China, briefly expounds the ways of spreading western keyboard instruments in China during the Ming and Qing dynasties. The main points are as follows: Western keyboard instruments were introduced into China with the overseas expansion of Western colonialism, which were spread through four channels: religion, merchants, foreign envoys and wars. The second chapter discusses the transmission of wind keyboard instruments in China. The first section, from the introduction time, the name, the shape structure and the characteristic, as well as each period dissemination situation and so on, has made the diachronic review to Yuan Dynasty's "Xinglongsheng", Macao's "organ" and the Qing Dynasty's "Guan Qin". It is considered that "Xinglongsheng", which was brought back to China in Yuan Dynasty, was the earliest western keyboard instrument introduced into China. The dissemination of organ in China can be divided into three stages, and different characteristics are reflected in the name of the instrument, the main body of communication, the way of communication and the function of the instrument. The second section, through the Chinese people about the organ, Wang Zhaohuan and the "Zhonghe" organ factory and the organ in the social dissemination of three aspects of the collation and research on the transmission of organ. The main contents include the "Zhonghe" organ factory founded by Wang Zhaohuan, which is the first organ factory in modern China, the establishment of "piano" in the new-style school and the church school, and the dissemination of organ by Japanese students and Japanese teachers. The third chapter discusses the transmission of string keyboard instruments in China. The first section mainly deals with two major issues. One is the ancient piano presented by Matteo Ricci in Wanli and the other is the ancient piano in Kangqian period. The former elaborated the lyre from three aspects: "Erjin" palace, the form and structure of Xiqin and the meaning of "Xiqin", and considered that Ricci was the first person to introduce (Clavica) into the palace. The latter made a specific introduction to the ancient piano in the Kang-Qian period, the main contents of which were the Kangxi period.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2006
【分类号】：J609.2
【引证文献】
相关期刊论文 前2条
1 林金水;代国庆;;利玛窦研究三十年[J];世界宗教研究;2010年06期
2 张冰;;高等音乐教育视唱练耳课程中钢琴运用评析[J];浙江艺术职业学院学报;2010年02期
相关硕士学位论文 前1条
1 肖承福;清前期西洋音乐在华传播研究[D];暨南大学;2010年
本文编号：2226224
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