發(fā)布時間：2018-05-19 23:01

  本文選題：箏樂發(fā)展 + 古箏�。� 參考：《江西師范大學》2017年碩士論文

【摘要】：箏是我國傳統(tǒng)的民族樂器,如今已有三千多年的歷史,它的正式名稱叫作“箏”,僅僅是因為歷史十分悠久,所以現(xiàn)在大多數(shù)的人們都稱之為“古箏”。筆者的中心思想在于對箏曲與唐詩之間的密切關(guān)系進行研究,其中以三大章節(jié)作為基本方向開始著手研究,第一章簡述我國箏樂歷史發(fā)展概況。作為一個習箏者,最基礎(chǔ)的則是要了解箏樂的歷史發(fā)展脈絡,不論是談及什么事物的發(fā)展,最終都要回歸到它的起源,所以本文的一個著手點在于箏樂是如何起源的,將原有的抽象的理解轉(zhuǎn)為現(xiàn)有的具體化的知識。緊接著對唐以前的箏樂發(fā)展概況分不同時期的箏進行簡單的介紹,分別從秦朝、漢魏六朝前期、漢魏六朝后期這樣三個實踐維度著手闡述。以第三小節(jié)簡述唐代箏樂作為銜本文第二章唐詩中的箏樂。將重點放在本章節(jié)的唐代的箏樂文化中,春秋戰(zhàn)國時期的箏開始流行于各國,直到唐朝興盛起來,也受唐朝的政治制度決定。相對來說,唐朝的政治制度詩比較寬松的,階級性也沒那么強烈,隨之出現(xiàn)了一批擁有無盡創(chuàng)作靈感的詩人,留下了諸多精彩又著名的古詩詞。在唐代,描寫箏樂的詩句不計其數(shù),摘取部分進行研究擴展。近年來,許多作曲家紛紛以唐詩為題材,結(jié)合唐詩中的知情意進行箏樂上的二度創(chuàng)作。這些作品蘊藏著深厚的文化內(nèi)涵,也體現(xiàn)了我國文化精神。由此引出了本文的重點研究章節(jié)——第三章。第三章以五首當代古箏名曲與唐詩進行深入研究,分別將當代古箏名曲《秦桑曲》與唐詩《春思》;當代古箏名曲《春江花月夜》與唐詩《琵琶行》;當代古箏名曲《秋望》與唐詩《長安秋望》;當代古箏名曲《楓橋夜泊》與唐詩《楓橋夜泊》以及當代古箏名曲《箜篌引》與唐詩《李憑箜篌引》從橫向以及縱向的進行剖析其作品的創(chuàng)作背景,從古詩的寫作背景,作者,以及創(chuàng)作此曲的作曲家等等多個方面相互聯(lián)系與比較,體驗音樂與文化結(jié)合之美。通過進行此類跨學科的研究,從多角度的視角進一步、更深層次的去了解古箏的發(fā)展由來,去理解古箏作品想要表達的內(nèi)涵,這也是幫助演奏者增加二度創(chuàng)作的靈感,同時也能給予演奏者更多的理論支撐以及對作品更好的詮釋和理解,當然對于欣賞者來說,這也能對音樂作品有了更清晰的認識,從而不再一味的停留在表面的,淺顯的認識。
[Abstract]:Zheng is a traditional national musical instrument in our country. Now it has a history of more than 3000 years. Its official name is "Zheng", only because of its long history, most people now call it "guzheng". The author's central idea is to study the close relationship between Zheng music and Tang poetry, in which three chapters are taken as the basic direction to begin to study. The first chapter briefly describes the historical development of Zheng music in China. As a zither person, the most basic thing is to understand the historical development of Zheng music, no matter what the development of things, they have to return to its origin, so one of the starting points of this article is how the Zheng music originated. Translate the original abstract understanding into the existing concrete knowledge. Then the development of Zheng music before Tang Dynasty in different periods of brief introduction, respectively from Qin Dynasty, Han Wei six dynasties, Han Wei six dynasties such three practical dimensions. The third section briefly describes the Zheng music in Tang Dynasty as the title of the second chapter. Focusing on this chapter of the Tang Dynasty Zheng music culture, the Spring and Autumn warring States period Zheng began to be popular in all countries, until the Tang Dynasty flourished, but also by the Tang Dynasty's political system. Comparatively speaking, the political system poetry of Tang Dynasty is relatively loose, the class nature is not so strong, then a group of poets with endless creative inspiration have appeared, leaving behind many wonderful and famous ancient poems. In the Tang Dynasty, there were countless poems describing Zheng music. In recent years, many composers take Tang poetry as the subject matter and combine the knowledge and emotion of Tang poetry for the second creation of Zheng music. These works contain profound cultural connotations and also reflect the cultural spirit of our country. This leads to the focus of this chapter-the third chapter. The third chapter carries on the thorough research with five contemporary guzheng famous songs and Tang poetry, The contemporary guzheng famous song "Qin Sang qu" and Tang poem "spring thought"; the contemporary guzheng famous song "Spring River Flower Moon Night" and Tang poem "pipa line"; the contemporary guzheng famous song "Autumn look" and Tang poem "Chang'an Autumn look"; the contemporary Zheng famous song "Fengqiao" "Night Park" and Tang Poetry "Fengqiao Night Park", as well as the contemporary guzheng famous song "harp" and Tang poem "Li with the harp", analyze the creative background of his works both horizontally and longitudinally. From the writing background of the ancient poem, the author, and the composer of this song and so on, and so on many aspects relate and compare with each other, experience the beauty of the combination of music and culture. Through such interdisciplinary research, from a multi-angle perspective to further understand the development of Guzheng, to understand the meaning of Guzheng works want to express, this is also to help players to increase the second creation of inspiration. At the same time, it can also give the performer more theoretical support and better interpretation and understanding of the work, of course, for the audience, this can also have a clearer understanding of the music, so that no longer blindly stay in the superficial, plain understanding.
【學位授予單位】：江西師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J632.32;I207.22

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