本文選題：歷史 + 形制�。� 參考：《中國音樂學院》2016年博士論文

【摘要】：本文從民族音樂學的角度,以中國揚琴為例,以歷史文獻和田野材料為據,討論揚琴及其音樂文化的變遷。中西文化交通歷史悠久,自漢代張騫出使西域至唐玄奘西行取經,到鄭和下西洋至明清時期的傳教士東來,音樂是中西交通中不可缺少的表現形式,音樂承載著文化交通中人們的思想與智慧,揚琴便是中西音樂文化交通中的標識之一。據資料記載,揚琴于明清時期傳入中國進入到民間,與民間音樂相融合,逐漸成為民間音樂中不可缺少的樂器之一。中華人民共和國成立后,揚琴向專業(yè)化發(fā)展,進入各地方專業(yè)學校及樂團�；仡櫷鈦頁P琴傳入中國的歷程,它經歷了從民間作坊到專業(yè)團隊、從地方流派到全國普及的發(fā)展過程,揚琴已經實實在在地成為中國的民族樂器,在民族音樂中發(fā)揮著重要的作用。本文圍繞這一樂器,即關注揚琴音樂歷時性傳承發(fā)展過程,同時關注揚琴音樂共時存在的形態(tài)現象,運用田野調查和文獻互證的方法,探索揚琴由“洋”到“揚”這一樂器文化屬性方面的演變過程,透過這些文化元素探索揚琴四百多年具象的外在歷史演變軌跡,以至于在當下的民族音樂環(huán)境中,更好地傳承中國音樂文化,更好地彰顯民族文化。作為人與音樂之間的物質載體,揚琴把抽象的音樂觀念用具體的樂器形式體現出來,因此研究樂器所承載的信息,是了解外來文化中國化的重要途徑。第一章圍繞二十世紀至二十一世紀國內學者針對揚琴歷史淵源的熱點問題進行分析調研:論述揚琴起源的三種見解,筆者在前人研究的基礎上,進一步補充揚琴與古代撥弦樂器有著密不可分的論證關系;論述世界揚琴的名稱、分布、形制、功能;分析揚琴傳入中國的兩種路徑。第二章從樂器改革的角度,論述外來揚琴本土化的變遷,分別從揚琴的形制、材質、音位排列的規(guī)律分析中國化的內因,即揚琴受中國地理生態(tài)環(huán)境、社會環(huán)境等相關音樂文化傳統(tǒng)因素影響,制作出適用于中國民間音樂的樂器。第三章從樂器存在方式的角度,論述揚琴十八世紀至二十世紀三百多年的變遷,分別從民間音樂曲種、劇種、樂種和少數民族民間器樂四種音樂種類,論述揚琴中國化的演變,通過田野調查與史料文獻相互參照的方法,說明外來揚琴成為中國民族民間樂器,與中國各地方人民的生活習俗、行為方式、思想觀念等文化事項密不可分。第四章從音樂本體的角度,論述揚琴音樂形態(tài)的變遷,透過不同音樂文本資料的比較,分析揚琴音樂曲調來源、曲目類型、曲式結構、演奏技法等音樂本體在不同時期的風格特征。第五章從樂器的文化功能角度,論述揚琴在不同時期社會文化活動中的作用,透過音樂的表現方式反映了中國傳統(tǒng)文化觀念作用下的揚琴中國化歷程。
[Abstract]:From the point of view of ethnomusicology, taking the Chinese yangqin as an example, taking the historical documents and field materials as the basis, this paper discusses the changes of the yangqin and its musical culture. There is a long history of cultural communication between China and the West. From Zhang Qian's mission to the Western regions in the Han Dynasty to the westward journey of Xuanzang in the Tang Dynasty and to the eastward arrival of missionaries from Zheng he's expedition to the Western Ocean to the Ming and Qing dynasties, music is an indispensable form of expression in the communication between China and the West. Music carries people's thoughts and wisdom in cultural traffic, and yangqin is one of the symbols in Chinese and western musical cultural traffic. According to the records, the yangqin was introduced into China in the Ming and Qing dynasties, and merged with folk music, and gradually became one of the indispensable instruments in folk music. After the founding of the people's Republic of China, dulcimer to professional development, into the local professional schools and orchestras. Looking back on the course of the introduction of foreign yangqin into China, it has experienced a process of development from folk workshops to professional teams, from local schools to the popularization of the whole country. The yangqin has actually become a national musical instrument in China. Play an important role in folk music. This paper focuses on this instrument, that is, pay attention to the diachronic inheritance and development process of yangqin music, at the same time, pay attention to the synchronic phenomenon of yangqin music, and use the method of field investigation and literature to prove each other. To explore the evolution process of yangqin's cultural attribute from "foreign" to "Yang", and through these cultural elements to explore the external historical evolution path of Yangqin's appearance for more than 400 years, so that in the present national music environment, Better inheritance of Chinese music culture, a better manifestation of national culture. As the material carrier between man and music, the yangqin embodies the abstract musical concept in the form of specific musical instruments. Therefore, studying the information carried by musical instruments is an important way to understand the localization of foreign cultures. The first chapter focuses on the domestic scholars from the 20th century to the 21 century to analyze the hot issues of the historical origin of the yangqin: discusses the origin of the yangqin three views, the author on the basis of previous studies, Furthermore, it is proved that the yangqin has a close relationship with the ancient instruments, discusses the name, distribution, shape and function of the world yangqin, and analyzes the two ways of the yangqin's introduction into China. The second chapter discusses the changes of the localization of foreign yangqin from the angle of musical instrument reform, and analyzes the internal causes of Sinicization from the aspects of the shape, material and phonetic arrangement of the yangqin, that is, the yangqin is under the Chinese geographical ecological environment. Influenced by social environment and other traditional factors of music culture, musical instruments suitable for Chinese folk music have been made. The third chapter discusses the changes of the yangqin from the 18th century to the 20th century from the point of view of the existence of musical instruments. It discusses the evolution of the yangqin in China from four kinds of music, namely, folk music, drama, music and folk instrumental music of minority nationalities. By cross-referencing the field investigation and historical documents, it is shown that the foreign yangqin is closely related to the cultural issues such as the living customs, behavior patterns, ideology and other cultural issues of the people in various parts of China, such as the foreign yangqin as a folk musical instrument of the Chinese nation. The fourth chapter discusses the changes of the musical form of yangqin from the point of view of the music ontology. Through the comparison of different musical texts, it analyzes the origin, the type and the structure of the tunes of the yangqin music. Performance techniques and other musical Noumenon in different periods of style characteristics. The fifth chapter discusses the role of yangqin in the social and cultural activities in different periods from the perspective of the cultural function of musical instruments, and reflects the Chinese process of yangqin under the influence of Chinese traditional cultural concepts through the expression of music.
【學位授予單位】：中國音樂學院
【學位級別】：博士
【學位授予年份】：2016
【分類號】：J632.51
，

本文編號：1956713