本文關(guān)鍵詞：江南絲竹、廣東音樂(lè)中二胡與高胡演奏技法之比較研究，，由筆耕文化傳播整理發(fā)布。

江南絲竹、廣東音樂(lè)是我國(guó)兩大代表性絲竹樂(lè)種,鼎盛于上世紀(jì)二三十年代,廣東音樂(lè)甚至還有著在滬發(fā)展、興盛的特殊經(jīng)歷,兩大樂(lè)種得以有頻繁的接觸和交流,因此,二者在曲目、樂(lè)器、演奏上都有一定程度的影響與滲透。可以說(shuō),這段兩大樂(lè)種交匯發(fā)展的歷史客觀上為廣東音樂(lè)主奏樂(lè)器高胡的誕生帶來(lái)了契機(jī),進(jìn)而開(kāi)創(chuàng)了廣東音樂(lè)發(fā)展歷史的新紀(jì)元。二胡與高胡分別作為兩大樂(lè)種的主奏樂(lè)器,是其風(fēng)格呈現(xiàn)的重要載體,且兩者有著深厚的歷史淵源。高胡不僅從形制上脫胎于二胡,就與二胡的基本演奏法比較米看,可列為二胡的地方流派,并且當(dāng)代二胡的演奏技術(shù)發(fā)展軌跡也極大程度地刺激、影響著高胡的演奏技術(shù)發(fā)展趨勢(shì)。她們各自作為兩大絲竹樂(lè)種的主奏樂(lè)器,通過(guò)特殊的演奏技法來(lái)呈現(xiàn)其鮮明的地方音樂(lè)風(fēng)格。不僅如此,廣東音樂(lè)、粵劇伴奏的樂(lè)隊(duì)編制,常常有納入二胡聲部,其演奏章法則主要借鑒自高胡。研習(xí)、掌握江南絲竹、廣東音樂(lè)的演奏風(fēng)格,是二胡演奏者完備、積蓄地方音樂(lè)風(fēng)格演奏經(jīng)驗(yàn)不可或缺的項(xiàng)目。一直以來(lái),對(duì)兩樂(lè)種演奏風(fēng)格的學(xué)習(xí)方式主要是口傳心授加上在實(shí)踐中揣摩、總結(jié)規(guī)律,但目前兩樂(lè)種在民間已不復(fù)當(dāng)年的交流盛況,學(xué)院內(nèi)的傳統(tǒng)絲竹樂(lè)演奏與民間生存狀態(tài)下的絲竹樂(lè)演奏有相當(dāng)程度的脫節(jié),亦有偏重于本地樂(lè)種風(fēng)格訓(xùn)練的情況出現(xiàn),同時(shí),民間絲竹樂(lè)社又鮮有專業(yè)二胡演奏者的加入,交流氛圍的削弱使傳統(tǒng)絲竹樂(lè)的演奏出現(xiàn)了“學(xué)院”與“民間”的兩極分化,其繼承與發(fā)展正遭遇著演奏規(guī)范化、譜面化與講求即興變化之間的尷尬,因此對(duì)于即興演奏技法的整理、歸納亟待解決。再者,以二胡、高胡演奏兩絲竹樂(lè)種,其風(fēng)格性的呈現(xiàn)主要都是通過(guò)加花、滑音、裝飾音、弓法等藝術(shù)手法即興發(fā)揮,在演奏法的運(yùn)用規(guī)律上二者既存顯著差異又不乏共性。如果對(duì)樂(lè)種的音韻特點(diǎn)缺乏足夠的認(rèn)識(shí),在相關(guān)技法的細(xì)節(jié)把握上可能會(huì)出現(xiàn)“張冠李戴”的情形,導(dǎo)致演奏風(fēng)格的不倫不類。帶著這樣的初衷,筆者查閱了相關(guān)文獻(xiàn)資料,發(fā)現(xiàn)關(guān)于兩大樂(lè)種的歷史、音樂(lè)風(fēng)格、曲式旋法及未來(lái)走向等課題一直是研究熱點(diǎn);涉及江南風(fēng)格的二胡演奏法、廣東音樂(lè)高胡演奏法的研究亦有一定成果;而基于兩樂(lè)種比較性質(zhì)的研究則顯得罕見(jiàn),較為系統(tǒng)的僅見(jiàn)上海音樂(lè)學(xué)院音樂(lè)學(xué)研究方向阮弘博士的畢業(yè)論文《江南絲竹與廣東音樂(lè)在上海的嬗變同異概觀》,另外在一些粵樂(lè)專論中散見(jiàn)著零星的談及兩樂(lè)種關(guān)聯(lián)的論述;至于比較研究?jī)蓸?lè)種中代表性樂(lè)器二胡與高胡的演奏技法,尚為空白。有鑒于此,筆者搜集、參閱了大量的文獻(xiàn)資料、音響資料,走訪了上海地區(qū)的絲竹樂(lè)社,并請(qǐng)教兩樂(lè)種的胡琴名家,結(jié)合自己的學(xué)習(xí)、演奏經(jīng)驗(yàn),試從演奏法比較的角度切入,通過(guò)對(duì)江南絲竹、廣東音樂(lè)特征性演奏手法的梳理與比較來(lái)明晰二者演奏特點(diǎn)上的區(qū)別,為準(zhǔn)確詮釋其樂(lè)種風(fēng)格、及吸收其風(fēng)格元素的現(xiàn)代創(chuàng)作作品提供一定的理論依據(jù)。全文分為三個(gè)章節(jié):第一章通過(guò)對(duì)上述兩樂(lè)種歷史交集的回顧引出高胡的創(chuàng)制,從其誕生及演奏技法兩方面來(lái)推論、揭示高胡與二胡兩者間的關(guān)系;第二章扼要闡述了二胡與高胡分別在兩樂(lè)種傳統(tǒng)合奏形式中的定位;第三章為重點(diǎn)章節(jié),詳細(xì)分析、比較了二胡、高胡在兩樂(lè)種風(fēng)格詮釋上相關(guān)技法的異同,其中又著重于對(duì)二者差異的說(shuō)明。'); Thriving at their best in the 1920s and 30s, Jiangnan sizhu (the "silk and bamboo" instrumental chamber music from the south bank of the lower Yangtze River )and Guangdong yinyue (Cantonese music) are two typical types of silk-and-bamboo music and especially, the latter even experienced its special development and booming in Shanghai, resulting in their all-too-frequent contact and exchange, which, in a way, bring in the two\'s sharing the influence and permeation with each other. As it were, the merging of these two big kinds of music in their developments objectively caused the birth of gaohu (a high-pitched fiddle), the principal instrument in Guangdong yinyue and opened a new era for the development of it.As the principal instruments separately in the two great types of music, erhu and gaohu are the important carriers of their styles and they possess a long historical origin. Besides being born out of erhu, gaohu, according to its basic performing technique, can be included in the former\'s local schools and as for performing techniques, its development trend is greatly being influenced and inspired by its counterpart in erhu. Being the dominant instruments separately in the two types of silk-and-bamboo music, they represent the unique styles of local music through their special performing techniques. What\'s more, in Guangdong yinyue and Yueju (Cantonese opera) ,they are always including erhu, whose performing techniques make use of those of gaohu.To study and acquire the playing styles of Jiangnan sizhu and Guangdong yinyue is essential for erhu player to perfect and collect his/hers playing experiences of local musical genres. As well as the understanding rooted in practice and summarizing rules, oral teaching which inspires true understanding, has always been the way of studying the playing styles of these two types of music. However, the grand occasions for exchanging in the two types of music have been no longer in existence; as it comes along, the performances of silk-and-bamboo music in colleges are barely connected to ones of genuine folk music and training biased toward the style of local music also appears, at the same time, with few professional erhu players taking part in folk music clubs for silk-and-bamboo music. The weakened communication atmosphere for traditional silk-and-bamboo music has led to the polarization between "the academic school" and "the folk school" and its succession and development is experiencing the embarrassing collisions among playing standardization, score-using standardization and improvisation; therefore, as far as the techniques of improvisation is concerned, their class   江南絲竹、廣東音樂(lè)中二胡與高胡演奏技法之比較研究

摘要 4-5

Abstract 5-8 緒論 8-12 第一章 高胡與二胡的關(guān)系 12-18     第一節(jié) 高胡誕生的歷史背景 12-13     第二節(jié) 高胡的創(chuàng)制及意義 13-16     第三節(jié) 高胡與二胡的實(shí)質(zhì)關(guān)系 16-18 第二章 二胡、高胡各自在江南絲竹、廣東音樂(lè)中的演奏定位 18-22 第三章 二胡與高胡于兩樂(lè)種中風(fēng)格性演奏技法之比較 22-75     第一節(jié) 即興加花 22-51         第一條 常見(jiàn)樂(lè)匯旋法及基本加花手法 22-39         第二條 加花的功用性與加花手法的聯(lián)系 39-51     第二節(jié) 滑音 51-66     第三節(jié) 裝飾音 66-71     第四節(jié) 弓法 71-75 結(jié)語(yǔ) 75-81 參考文獻(xiàn) 81-85 致謝 85

  本文關(guān)鍵詞：江南絲竹、廣東音樂(lè)中二胡與高胡演奏技法之比較研究，由筆耕文化傳播整理發(fā)布。