古琴与古筝音乐文化对比研究

发布时间：2018-06-08 01:38

本文选题：古琴 + 古筝　；参考：《四川师范大学》2017年硕士论文

【摘要】：在中国绵长的音乐历史长河中,从春秋时代所流行的“雅乐”与“郑声”,到武、文之世的“阳春白雪”和“下里巴人”,以至清末之时的“雅”、“花”部,数千年的时光荏苒,始终贯穿着“雅”与“俗”的分野,存在着分庭对峙的主客观现象。但由于“雅”、“俗”之功用无法替换,必然面临并存、互补的局面。同属弹拨乐器的古琴和古筝,在音乐史上似乎赋予了“雅”、“俗”之别,其实,二者均以各自的表现方式体现着中华传统文化的精髓和蕴含。无论是两种乐器的形制发展,还是演奏技术的相互借鉴,或是曲目的移植,或是各自受众群的多寡等等方面,都是既有独特性,又相互补充、相互促进、相互对比、协调发展。本文将对古琴和古筝的文化内涵、音乐特质及相互的影响进行比较和分析,从而揭示二者在中国音乐体系中的重要地位,进行文化意蕴和大众审美的关照。全文分六个部分进行论述。第一部分,绪论。主要廓清论文的研究目的、领会研究意义,寻找和拟定基本的研究方法,采集整理有关理论文献,为后续研究提供素材和视角。第二部分,古琴和古筝的流变。主要从两者结构的形成与发展、古筝对古琴传世作品移植以及古琴和古筝的人文思考三个方面进行综合分析,为开篇和深度切入提供着眼点。第三部分,古琴和古筝的文化差异。主要从古琴和古筝的主体差异和古琴古筝流派的差异两方面进行对比研究,理清两者的异同及发展脉络。第四部分,琴曲移植为筝曲的文化融合。主要从移植的可能性、移植时对演奏法的要求以及琴曲移植为筝曲的表现力分析三个层次进行逐个研究,获得移植的参考与结论性意见。第五部分,现阶段古琴和古筝的发展模式。主要从古琴曲高和寡带来的尴尬局面、古筝对古琴的取代现象以及二者对中国传统文化的传递三个层次进行深入探讨。第六部分,结束语。主要做出结论和展望,以古琴古筝的文化属性为基准,探讨其艺术价值的本质定性问题,期盼两者在继承中发展、在革新中前进。
[Abstract]:In the long history of Chinese music, the "Yale" and "Zheng Sheng", which is popular in the spring and Autumn period, are "elegant", "flower" and "elegant", "Hua" and "vulgar" in the end of the Qing Dynasty. But because of "elegance" and "vulgar" function cannot be replaced, it is inevitable to face coexistence and complementation. The ancient harp and zither, which belong to the plucked musical instruments, seem to have given "elegance" and "vulgar" in the history of music. In fact, the two all reflect the essence and the implication of the Chinese traditional culture in their own way of expression, whether two instruments. The development of the form system, or the mutual reference of playing techniques, or the transplantation of the repertoire, or the number of their respective audiences, are both unique and complementary, mutual promotion, mutual contrast and coordinated development. This article will compare and analyze the cultural connotations of Guqin and guzheng, the characteristics of music and music, and the influence of each other, so as to reveal two In the Chinese music system, the important status of the cultural connotation and mass aesthetic care. The full text is divided into six parts. The first part, introduction, mainly clarifies the purpose of the research, comprehends the research significance, seeks and draws up the basic research methods, collects and collects the relevant theoretical literature, and provides material and perspective for the follow-up research. The second part, the evolution of the Guqin and guzheng, mainly from the formation and development of the two structures, the zither's transplanting of the ancient organ and the humanistic thinking of the Guqin and guzheng in three aspects, which provide the point of opening and depth. The third part, the cultural differences between the Guqin and the guzheng, mainly from the main difference between the Guqin and the guzheng. The difference and the guzheng School of the difference between the two aspects of the difference and study to clarify the similarities and differences between the two and the development of the context. The fourth part, the piano music transplantation to the cultural integration of zither music, mainly from the possibility of transplantation, the requirements of the transplantation of the performance method and the expression of the grafts to the Guzheng music of the three levels. The fifth part, the present stage of the development of Guqin and guzheng, mainly from the awkward situation that the Guqin and the Guqin have brought by the guqin, the substitution of the guither to the Guqin and the three levels of the transmission of the Chinese traditional culture by the two, and the conclusion and the prospect of the guzheng, with the Guqin guzheng On the basis of cultural attribute, we discuss the essential qualitative problem of its artistic value, and hope that both of them will develop in the process of inheritance and move forward in innovation.
【学位授予单位】：四川师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J632.3

【参考文献】