论南音洞箫的传承与改良

发布时间：2018-05-17 16:22

  本文选题：南音 + 南箫　； 参考：《中国音乐》2017年04期

【摘要】：在漫长的艺术发展史上,南音总是在继承前人的基础上,通过不断的革新或改良使其趋于完善。然而,在南音发展已颇为成熟、完备,且被选为世界"非遗"的背景下,对其任何形式的改良与革新则应慎之又慎。当代著名南箫研制者、国家一级演奏员阿四先生冒着被传统南乐界深度"置疑""批评"的风险,对南箫的改良进行了长达三十多年的探索,为解决六孔洞箫在演奏"倍思管"乐曲或伴奏南音曲唱时长期存在的所谓"音不准"现象提供了极具价值的借鉴。同时,他对传统南箫演奏手法和惯用手势长期采用"右手在上、左手在下"等现象,也提供了可资借鉴的一家之言和改良途径,具有较强的现实意义。
[Abstract]:In the long history of artistic development, Nanyin always inherits its predecessors and makes it perfect through continuous innovation or improvement. However, under the background that the development of Nanyin is quite mature and complete, and it is chosen as "non-posthumous" in the world, the improvement and innovation of Nanyin in any form should be taken with great care. At the risk of being "questioned" and "criticized" by the traditional southern music circles, Mr. Ah Si, a famous contemporary Nanxiao developer and national first class performer, has been exploring the improvement of Nanxiao for more than 30 years. It provides a valuable reference for solving the phenomenon of the so-called "inaccuracy" that exists for a long time when the six-hole Xiao plays the music of "double thought tube" or accompaniment to the song of southern tone. At the same time, he used the phenomenon of "the right hand in the top, the left in the bottom" for a long time.
【作者单位】： 泉州师范学院音乐与舞蹈学院;泉州师范学院"福建省南音文化传承与发展协调创新中心";泉州师范学院南音学院;
【基金】：2014年度国家社科基金艺术学项目“南音传承方式研究”(项目编号14BD048)的阶段性研究成果
【分类号】：J632.13
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本文编号：1902041