江南丝竹、广东音乐中二胡与高胡演奏技法之比较研究

  本文关键词：江南丝竹、广东音乐中二胡与高胡演奏技法之比较研究，，由笔耕文化传播整理发布。

江南丝竹、广东音乐是我国两大代表性丝竹乐种,鼎盛于上世纪二三十年代,广东音乐甚至还有着在沪发展、兴盛的特殊经历,两大乐种得以有频繁的接触和交流,因此,二者在曲目、乐器、演奏上都有一定程度的影响与渗透。可以说,这段两大乐种交汇发展的历史客观上为广东音乐主奏乐器高胡的诞生带来了契机,进而开创了广东音乐发展历史的新纪元。二胡与高胡分别作为两大乐种的主奏乐器,是其风格呈现的重要载体,且两者有着深厚的历史渊源。高胡不仅从形制上脱胎于二胡,就与二胡的基本演奏法比较米看,可列为二胡的地方流派,并且当代二胡的演奏技术发展轨迹也极大程度地刺激、影响着高胡的演奏技术发展趋势。她们各自作为两大丝竹乐种的主奏乐器,通过特殊的演奏技法来呈现其鲜明的地方音乐风格。不仅如此,广东音乐、粤剧伴奏的乐队编制,常常有纳入二胡声部,其演奏章法则主要借鉴自高胡。研习、掌握江南丝竹、广东音乐的演奏风格,是二胡演奏者完备、积蓄地方音乐风格演奏经验不可或缺的项目。一直以来,对两乐种演奏风格的学习方式主要是口传心授加上在实践中揣摩、总结规律,但目前两乐种在民间已不复当年的交流盛况,学院内的传统丝竹乐演奏与民间生存状态下的丝竹乐演奏有相当程度的脱节,亦有偏重于本地乐种风格训练的情况出现,同时,民间丝竹乐社又鲜有专业二胡演奏者的加入,交流氛围的削弱使传统丝竹乐的演奏出现了“学院”与“民间”的两极分化,其继承与发展正遭遇着演奏规范化、谱面化与讲求即兴变化之间的尴尬,因此对于即兴演奏技法的整理、归纳亟待解决。再者,以二胡、高胡演奏两丝竹乐种,其风格性的呈现主要都是通过加花、滑音、装饰音、弓法等艺术手法即兴发挥,在演奏法的运用规律上二者既存显著差异又不乏共性。如果对乐种的音韵特点缺乏足够的认识,在相关技法的细节把握上可能会出现“张冠李戴”的情形,导致演奏风格的不伦不类。带着这样的初衷,笔者查阅了相关文献资料,发现关于两大乐种的历史、音乐风格、曲式旋法及未来走向等课题一直是研究热点;涉及江南风格的二胡演奏法、广东音乐高胡演奏法的研究亦有一定成果;而基于两乐种比较性质的研究则显得罕见,较为系统的仅见上海音乐学院音乐学研究方向阮弘博士的毕业论文《江南丝竹与广东音乐在上海的嬗变同异概观》,另外在一些粤乐专论中散见着零星的谈及两乐种关联的论述;至于比较研究两乐种中代表性乐器二胡与高胡的演奏技法,尚为空白。有鉴于此,笔者搜集、参阅了大量的文献资料、音响资料,走访了上海地区的丝竹乐社,并请教两乐种的胡琴名家,结合自己的学习、演奏经验,试从演奏法比较的角度切入,通过对江南丝竹、广东音乐特征性演奏手法的梳理与比较来明晰二者演奏特点上的区别,为准确诠释其乐种风格、及吸收其风格元素的现代创作作品提供一定的理论依据。全文分为三个章节:第一章通过对上述两乐种历史交集的回顾引出高胡的创制,从其诞生及演奏技法两方面来推论、揭示高胡与二胡两者间的关系;第二章扼要阐述了二胡与高胡分别在两乐种传统合奏形式中的定位;第三章为重点章节,详细分析、比较了二胡、高胡在两乐种风格诠释上相关技法的异同,其中又着重于对二者差异的说明。'); 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   江南丝竹、广东音乐中二胡与高胡演奏技法之比较研究

摘要 4-5

Abstract 5-8 绪论 8-12 第一章 高胡与二胡的关系 12-18     第一节 高胡诞生的历史背景 12-13     第二节 高胡的创制及意义 13-16     第三节 高胡与二胡的实质关系 16-18 第二章 二胡、高胡各自在江南丝竹、广东音乐中的演奏定位 18-22 第三章 二胡与高胡于两乐种中风格性演奏技法之比较 22-75     第一节 即兴加花 22-51         第一条 常见乐汇旋法及基本加花手法 22-39         第二条 加花的功用性与加花手法的联系 39-51     第二节 滑音 51-66     第三节 装饰音 66-71     第四节 弓法 71-75 结语 75-81 参考文献 81-85 致谢 85

  本文关键词：江南丝竹、广东音乐中二胡与高胡演奏技法之比较研究，由笔耕文化传播整理发布。