本文選題：奚琴　切入點(diǎn)：中國　出處：《上海音樂學(xué)院》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：奚琴起源于古代中國隨后傳入東部鄰邦朝鮮。古往今來,東亞音樂文化圈浩如煙海的樂器群中,奚琴作為稀有的弓弦樂器出現(xiàn)于兩國宮廷和民間,在反應(yīng)中國和朝鮮音樂文化交流的同時(shí),亦表現(xiàn)出同一樂器在不同的文化環(huán)境下被賦予不同形式與形態(tài)的成長。數(shù)百年間,奚琴于中國和朝鮮兩地沿著各自的軌跡衍變和發(fā)展。在中國,奚琴經(jīng)歷了宋、元、明、清與近現(xiàn)代等不同朝代,由起初傳統(tǒng)的《樂書》形制1逐一形成和擴(kuò)散至龐大的胡琴家族體系下的多種衍生體;在朝鮮半島,傳統(tǒng)形制的奚琴仍一直被保存與傳承,直到二十世紀(jì)中葉形成南北兩種不同的國度與社會(huì)體系后,半島北部的朝鮮將奚琴進(jìn)行了全方位的西式改革,以另一種新面貌問世。本文主要運(yùn)用音樂史學(xué)的研究方法,并集合音樂圖像學(xué)、音樂文獻(xiàn)學(xué)、音樂考古學(xué)、民族音樂學(xué)等考進(jìn)方法對(duì)奚琴在中國和朝鮮半島發(fā)展衍變歷程進(jìn)行分析與探討。本文的研究內(nèi)容主要包括三個(gè)部分:第一部分針對(duì)史料的整理與分析,結(jié)合前人研究,再次探析奚琴在中國的源起時(shí)期以及傳入朝鮮的歷史背景,針對(duì)先前部分學(xué)者闡述奚琴在唐代就以誕生的觀點(diǎn),筆者針對(duì)唐、宋音樂文獻(xiàn)的考察,最終認(rèn)為奚琴在中國的確鑿年代為宋代;第二部分分別以奚琴形制為出發(fā)點(diǎn),闡述奚琴在中國、朝鮮半島的發(fā)展脈絡(luò)進(jìn)行闡述,奚琴在中國出現(xiàn)斷層性與轉(zhuǎn)折性衍變的同時(shí),比較其朝鮮半島的發(fā)展歷程,使二者間的異同及其自身特性更加鮮明。筆者根據(jù)整理與對(duì)比奚琴在兩國的發(fā)展歷程,提出奚琴在中國的發(fā)展稱之為"衍變",在朝鮮半島的傳承稱為"演變"的觀點(diǎn)。第三部分在前兩部分的基礎(chǔ)上,試圖分析奚琴在中、朝歷代傳承中所呈現(xiàn)的流傳地域的變遷其角色功能特征,以及二者間的成因。
[Abstract]:Xiqin originated in ancient China and was later introduced to Korea, a neighboring country in the east. Throughout ancient times, among the numerous musical instruments in East Asia's musical and cultural circles, Xi Qin, as a rare bow stringed instrument, appeared in the courts and folk of the two countries. While reflecting the exchange of music and culture between China and North Korea, it also shows that the same instrument has been given different forms and forms of growth in different cultural environments. Xi Qin evolved and developed in both China and North Korea. In China, Xi Qin went through different dynasties, such as Song, Yuan, Ming, Qing and Modern dynasties. Form 1 of the original traditional "Music Book" was formed and spread to various derivatives under the huge Huqin family system. In the Korean Peninsula, the traditional form of the Xi Qin is still preserved and passed on. Until the middle of 20th century, after the formation of two different national and social systems in the north and south of the peninsula, Korea in the northern part of the peninsula carried out a comprehensive western-style reform and came out with another new look. This paper mainly uses the research methods of music history. And the collection of music graphics, music philology, music archaeology, The development and evolution of Xi Qin in China and the Korean Peninsula are analyzed and discussed by means of ethomusicology. The research contents of this paper mainly include three parts: the first part is the arrangement and analysis of historical data, combined with previous studies. Once again, it analyzes the origin of Xi Qin in China and the historical background of his introduction into North Korea. In view of the previous scholars' view that Xi Qin was born in the Tang Dynasty, the author examines the music literature of Tang and Song dynasties. Finally, it is concluded that the definitive era of Xi Qin in China is the Song Dynasty. The second part, taking the form of Xi Qin as the starting point, expounds the development context of Xi Qin in China and the Korean Peninsula. At the same time, the Xi Qin has a fault and a turning point in China. By comparing the development of the Korean Peninsula, the similarities and differences between the two countries and their own characteristics are more clear.According to the arrangement and comparison of the development of Xi Qin in the two countries, This paper puts forward the view that the development of Xi Qin in China is called "evolution", and the inheritance on the Korean peninsula is called "evolution". The third part is based on the first two parts and tries to analyze Xi Qin's presence. The vicissitude of the spreading region in the successive dynasties and its role-function characteristics, and the causes of formation between the two.
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J63

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本文編號(hào)：1561919