扬琴艺术在北京的发展史研究

【作者】 王杨；

【导师】 孟维平；

【作者基本信息】 首都师范大学 ， 音乐学， 2007， 硕士

【摘要】 扬琴(Dulcimer)是起源于中东地区和波斯古国的击奏弦鸣乐器。明代万历年间(1573年-1619年),随着我国和西亚、东非间日趋密切的往来,扬琴由波斯经海路传入我国,最初流行于广东一带,后逐渐传入内地。四百年后的今天,中国扬琴艺术已发展成为世界扬琴三大体系之一。在民族乐器中,扬琴有“中国的钢琴”之美称,它在中国真正得到快速发展是二十世纪中叶以来的这五十年。1959年,中央民族广播乐团杨竞明先生开始对扬琴这件乐器进行了不断的改革,这对促进北京乃至全国扬琴事业的发展起了极其重要的推动作用。在传统扬琴的基础上进行的改革直接促进了扬琴的作品创作和演奏技巧。中国音乐学院和中央音乐学院的扬琴专业教育代表了北京乃至全国扬琴教育的最高水平。北京作为政治文化中心,其扬琴艺术的发展可以说是全国扬琴艺术的中心。北京作为现代扬琴在中国的发源地,它的扬琴发展史就是一部当代中国扬琴艺术史的缩影,代表了中国扬琴的风格。近几十年来北京汇集了全国的很多扬琴人才,不仅使扬琴的教学迈向了规范化教育的过程,并产生了大批现代专业扬琴演奏者。1982年3月7日,中国音协表演艺术委员会在北京成立了北京扬琴研究组。改革开放以来,中外音乐交流愈加广泛,中国扬琴家频繁出国访问演出。2005年10月,第八届世界扬琴大会在北京召开,进一步推进了中国扬琴艺术的发展。然而也存在着一些不容忽视的问题,如与表演学科的发展相比较而言,具有中国特色的扬琴艺术理论的研究、特别是对其历史沿革方面的研究还相对滞后。在专业音乐教育界,还存在着重技术轻理论的影响,离建立有中国特色的扬琴音乐理论体系尚有一段差距,有待于进一步完善的工作。目前,比较系统的地对中国扬琴艺术的发展理论进行过研究的有:赵艳芳的《从洋琴到扬琴》,项祖华的《扬琴艺术的世纪回眸与展望》,谢晓滨的《简论中国扬琴艺术之发展》等文章。在本文当中,力求吸收前人已有的研究成果,并结合北京的政治、历史因素及各个时期的扬琴演奏、教学、科研、创作和制作等诸方面特点,对北京扬琴艺术发展史的研究有所突破。本文立足于北京,所论即是叙述明末清初至今,北京扬琴发展的历程,以对北京扬琴艺术发展史的梳理为基础,尝试分析与总结在国际大环境下的北京扬琴音乐的特征、优势及存在的问题,以期为北京乃至全国的扬琴艺术理论的发展和完善、音乐史学的丰富提供一些参考性的材料。更多还原

【Abstract】 Yangqin （Dulcimer） is an instrument that originates from the Middle East and Persia. It has a trapeziform box with many strings but without a keyboard which are played with hammers. During the 1573 to 1619 of dynasty Ming, dulcimer was widespread in China from Persia by sea, in the area of Guangdong originally, following the close contact with West Asia and East Africa. Nowadays, Yangqin has developed to be one of the three systems of dulcimer in the world after 400 years. It is called "piano in China" in traditional instruments of China. After 1950s it has been rapidly expanded. Mr. Jingming Yang, who was one of the members in the Center Broadcasting Traditional Instruments Orchestra, began to reform traditional Yangqin in 1959. It brought about a great advance to the undertaking of Yangqin for Beijing even China. The reformation on the basis of traditional Yangqin promoted directly the works and skills of Yangqin. The education in the China Music College and the Center Music college have been on behalf of the highest level of Yangqin specialized course in Beijing and China. As the center of politics and culture, it can say that the development of Yangqin in Beijing is the center of China. As the birthplace of modem Yangqin, Beijing represents the style of Yangqin art in China. The history of Yangqin’s development in Beijing is the epitome which in China.In recent years, it was converged lots of qualified personnel in Yangqin from China in Beijing. Following the education in Yangqin entered a stage of standardization, it has emerged many performers majored in Yangqin in Beijing. On March 7, 1982, Yangqin Research Institute was set up in Beijing by Performance Committee of China Musician Association. After Improvement Opening, international cultural exchange has been growing more widespread and performers of Yangqin often go to visit abroad. In October 2005, The 8^th Yangqin World Congress was convened in Beijing which advanced the expansion in yangqin. However, it has been many problems not to be ignored, for example the research in terms of theory about the artistic characteristics of Yangqin, especially about the evolution of Yangqin’s history, is backward relatively, comparing the development in performance. It has been paying more attention to skill than theoretical research. Something should be done to perfect it and take further steps to establish the theory of Yangqin art with China distinguished feature as a system.Up till now, it has made a marked systematic study about developing theory of Yangqin art in some articles: 《Form Dulcimer to Yangqin》 （Yanfang Zhao）, 《The History And Future of Yangqin》 （ Zuhua Xiang）, 《Discuss The Development of Yangqin》 （Xiaobin Xie）, etc. In my article, I try to make a new breakthrough in the study of Yangqin art in Beijing by absorbing the achievement that some people studied and combining the factors of politics and history in Beijing with the characteristic of performance, education, scientific research, creation and manufacture and so on in each period. It narrates the developing course of Yangqin in Beijing from the end of dynasty Ming and early in dynasty Qing to date. And it want to afford some material for reference to the development and perfection in the theory of Yangqin in Beijing even China and to the abundance in history of music by trying to analyse and sum up the features, superiorities and problems of Beijing’s Yangqin under the world situation on the basis of summarizing the history of yangqin in Beijing.更多还原