本文選題：二胡 + 禪宗��； 參考：《湖南師范大學(xué)》2013年碩士論文

【摘要】：近些年來,二胡演奏的相關(guān)理論建設(shè)不足在很大程度上限制了二胡演奏的進(jìn)一步發(fā)展。本文致力于借鑒禪宗智慧,結(jié)合二胡演奏的相關(guān)問題,建立一個(gè)較為系統(tǒng)的二胡演奏之道的理論形態(tài)。 具體來說,二胡演奏必然涉及“人”、“技”、“人”與“技”的協(xié)調(diào)三個(gè)方面。所以筆者將二胡演奏之道的理論建設(shè)相應(yīng)的分為三方面,從而有針對(duì)性的去讀取和借鑒相關(guān)的禪宗智慧。 首先,論及二胡演奏涉及的“人”,即二胡演奏者的相關(guān)問題。主要從禪宗白性說、禪定、自度說等出發(fā)建立二胡演奏者的個(gè)人風(fēng)格、心性修養(yǎng)、情感問題等相關(guān)理論。其次,論及二胡演奏涉及的“技”,即二胡演奏技法的相關(guān)問題。致力于從南北宗禪法的不同特點(diǎn)出發(fā),有針對(duì)的尋求二胡演奏技法的相關(guān)理論建設(shè)的啟示。北宗禪法的啟示主要在二胡演奏技法的訓(xùn)練和提升；南宗禪法的啟示主要在二胡演奏技法的會(huì)心適意和法無定法的求追。最后,論及二胡演奏涉及的“人”“技”協(xié)調(diào),即二胡的音樂表現(xiàn)的相關(guān)問題。主要從禪宗的破執(zhí)說出發(fā)尋求啟示,建立二胡音樂表現(xiàn)中人技協(xié)調(diào)的演奏狀態(tài)的相關(guān)理論；從禪境的智慧出發(fā)去建立二胡音樂表現(xiàn)中的意境理論；從禪悟的智慧出發(fā)謀求建立二胡音樂表現(xiàn)的終極追求的相關(guān)理論。 總的來說,禪宗智慧作為一種具有創(chuàng)造性的思維方式,具有很強(qiáng)的活力。借鑒禪宗智慧建立的二胡演奏之道可以為二胡的進(jìn)一步發(fā)展提供一定的理論指引。
[Abstract]:In recent years, the lack of theoretical construction of erhu performance limits the further development of erhu performance to a great extent. This paper is devoted to using the wisdom of Zen sect for reference, combining with the related problems of erhu playing, to establish a more systematic theoretical form of erhu playing. Specifically, erhu performance must involve the coordination of "human", "technique", "human" and "technique". Therefore, the author divides the theory construction of erhu playing into three aspects, so as to read and draw lessons from the relevant Zen wisdom. First of all, the erhu performance involved in the "human", that is, erhu players related issues. Based on the theory of white nature, meditation and self-determination of Zen, the author establishes the theory of erhu player's personal style, mental accomplishment, emotional problems and so on. Secondly, the paper discusses the "technique" involved in erhu performance, that is, the related problems of erhu playing techniques. Based on the different characteristics of the North and South Zen, there are some enlightenments for the theoretical construction of erhu playing techniques. The enlightenment of Beizong Zen method mainly lies in the training and promotion of erhu playing technique, and the enlightenment of Nanzong Zen method mainly lies in the understanding of erhu playing technique and the pursuit of Dharma indeterminate method. Finally, the author discusses the coordination of human and technical performance, that is, the musical performance of erhu. Based on the theory of Zen, the author tries to establish the theory of harmonious performance of human and technology in erhu music, and the theory of artistic conception in the performance of erhu music from the wisdom of Zen, and from the wisdom of Zen to establish the theory of artistic conception in the performance of erhu music. Starting from the wisdom of Zen enlightenment, this paper seeks to establish the relevant theory of the ultimate pursuit of erhu music performance. In general, Zen wisdom, as a creative way of thinking, has a strong vitality. Drawing lessons from Zen wisdom can provide some theoretical guidance for the further development of erhu.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J632.21

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