【作者】 李艳；

【导师】 王耀华；

【作者基本信息】 福建师范大学 ， 音乐学， 2006， 硕士

【摘要】 《广东音乐扬琴、东北扬琴音乐风格特征之比较》运用民族音乐学的研究方法，从音乐分析入手，试图考察两个不同扬琴传统流派的演奏曲目、演奏技巧等方面，从而寻探两个传统流派的音乐及音乐风格特征，对影响流派音乐风格特征形成的主要因素作较为全面的揭示。 第一章 对“音乐风格”和“形成音乐风格的主要要素”进行了论述，认为扬琴音乐的风格特征，最主要的是从演奏风格上(包括具体的作品、演奏技巧、演奏形式等方面)体现。从最早的扬琴乐曲到如今百花齐放的大量扬琴音乐作品，呈现出风格多样性的特点。它经历了从改编民歌小曲、创编性旋律发展而成的独奏曲，到兼容着中国传统式套曲、组曲结构形式和西洋变奏曲等特征为一体的大型扬琴音乐作品的发展过程。 第二章 从广东音乐扬琴和东北扬琴的演奏工具和传统竹法两方面进行比较，得出结论：1、琴竹的使用，共性：琴竹线条流畅、纹路直、竹表面无竹节、弹性较好且硬度接近。相异性：广东音乐扬琴琴竹头较小，重量轻，竹身较薄而软，适合演奏优美抒情、明快流畅的曲调；东北扬琴琴竹属中性琴竹，振幅一般为上下15度，其外形线条流畅、笔直不弯曲，竹身较为偏软，竹尾的三分之一处中间稍厚，两边稍薄，略呈扁弧状，有较强的弹性。适合演奏各种上、下滑弹等技巧。2、扬琴竹法，广东音乐扬琴以丘鹤俦为代表“左竹”派创立的“左竹法”为传统竹法，与“左竹法”同时期并存的以严老烈为代表的“右竹”派，其“右竹法”随着转调扬琴的出现逐渐取代“左竹法”，成为广东音乐扬琴的主要演奏竹法。之后，以汤凯旋、陈其湛等为代表的广东音乐扬琴演奏家，创立和使用左右混合竹法具有新的竹法意义。此外，在演奏传统曲目时，两个流派都有自己惯用的竹法套路。东北扬琴流派的代表人物王沂甫先生总结的“连竹”竹法，打破了广东音乐传统扬琴的“左竹法”和“右竹法”不能连弹两下的禁忌。 第三章 从广东音乐扬琴和东北扬琴的同名曲目、特色曲目比较，得出结论：两流派同名异曲有《倒垂帘》，通过不同技法表现各自流派的不同特色。广东音乐扬琴代表性特色曲目有《雨打芭蕉》、《旱天雷》等；东北扬琴的代表性特色曲目有《苏武牧羊》等。 第四章 分析了两个流派的演奏技巧，认为广东音乐扬琴、东北扬琴的“点”性技法有：单竹、齐竹技法；“线”性技法有：轮竹、弹轮；广东音乐扬琴的特色技法有：“加花”、“衬音”、“顿音”、“颤竹”、“坐音”、“连打音”、“双音”等；东北扬琴的特色技法有：“滚竹”、“压音”、“上下滑音”等。 第五章 对影响两个传统流派音乐风格特征形成的因素加以综合归纳。主要有：地理环境、地方方言声调因素、风格性技法、审美心理等四个方面。更多还原

【Abstract】 The Comparison of Music Styles of Cantonese Dulcimer and Northeastern Dulcimer is using the method for researching folk music to take a look at the songs, skills of performance. In this way, this article tries to find out the music and the styles of the two traditional schools. It also tries to reveal the main factors ihflucing the form of the music styles of these schools.Chapter one Discussion on music style and the main factors of the forming of the music style. The music style of Dulcimer is presented mainly by the style of playing, including the specific composition, playing skill, performancing forms and so on.. The variety of style can be seen from the early dulcimer songs to various dulcimer music compositions. It develops from adapted folk songs, creative solo to large dulcimer composition which includes both Chinese traditional cycle, suite and western variations.Chapter two Conclusions drawn from the comparsion of the instruments and traditional bamboo-strinkings of Cantonese music dulcimer and Northeastern dulcimer. 1. about the use of the musical instrument bamboo. Similarity: The bamboo is straight, good elasticity, stong enouth without bamboo joints on the surface. Difference:The Cantonese dulcimer is lighter with smaller bamboo ends. The bamboo it used is flimsy and soft which is suitable for playing lyric, bright and flowing songs. The northeastern dulcimer adopts the neutral bamboo with the amplitude around 15. The bamboo is straight and softer. About one third ofthe end is much thicker in the middle and thinner in the both sides, like a flat arc. And it is quite elastic. It is suitable to adopt up and down slide skills. 2. about bamboo-hammer striking. For Cantonese music dulcimer, Qiu He chou, the presentative of Left bamboo-hammer striking school, created the traditional bamboo-hammer striking ways. The school of Right bamboo-hammer striking with the presentative of Yan Laolie displaced with the Left bamboo-hammer striking as the dulcimer of modulation appeared. Then the Right bamboo-hammer striking beame the main playing way of Cantonese music dulcimer. Consequently, the cantonese music dulcimer players Tang Kaixuan, Chen Qizhan and some others created Left and Right bamboo striking. When the two schools perform tradtional songs , they always have their own ways. The Left bamboo -hammer striking and the Right bamboo-hammer striking both can not strike twice consecutively. But the presentative of Northeastern dulcimer, Wang Yifu’s Consecutive Striking has changed the situation.Chapter Three Conclusions drawn from the comparison of songs with same name and special songs of Cantonese and Northeastern Dulcimer. The two schools both have the Turned Over Curtain. But the two songs of these two schools are different with the same name. They are performed in different ways of their own . The Cantonese music dulcimer has its presentative work, such as Rain Pattering at Plantain Leaves ,Thunder in drough and so on. The Northeastern dulcimer has its own presentative work Su Wu Herding Sheep.Chapter Four Comparision of the playing skills of the two schools. The Point skills they both have: Simple-bamboo, whole-bamboo; The Line skills they both have : Rotating-bamboo, Ricocheting wheel. The special skill of Cantonese music dulcimer: Ornamentation, Foil tone, Pause tone, Quavery-bamboo, Sit tone, Beat-away tone, Dual tone and so on. The special skill of Northeastern dulcimer: Rolling bamboo, Bending tone, up and down slide tone and so on.Chapter Five Summary of the factors influencing the form of the music styles of the two traditional schools. These factors mainly include geographical environment, tones of dialects, skills of different styles, aesthetic psychology.更多还原