本文選題：箏 + 秦箏　； 參考：《陜西師范大學(xué)》2003年碩士論文

【摘要】： 先秦時(shí)期是中國(guó)歷史的重要轉(zhuǎn)型期，從奴隸社會(huì)的衰落到封建社會(huì)的興起。這一時(shí)期在政治、經(jīng)濟(jì)各方面都有突飛猛進(jìn)的發(fā)展；在文化方面則呈現(xiàn)出“百家爭(zhēng)鳴”“百花齊放”的欣欣向榮的局面。器樂(lè)方面，繼西周時(shí)期以樂(lè)器制作材料而劃分“八音”，，將絲弦樂(lè)器分為琴、瑟兩種以后，春秋戰(zhàn)國(guó)時(shí)期又加入了箏、筑等樂(lè)器，而箏則是這一時(shí)期最具代表性的樂(lè)器，以至成為秦國(guó)音樂(lè)文化的象征。全文共分三個(gè)部分。 第一部分，秦箏的音樂(lè)文化背景�！扒毓~”含義：一是泛指中國(guó)箏，二是特指秦地風(fēng)格的箏樂(lè)；秦人及其傳統(tǒng)音樂(lè)；秦代“樂(lè)府”及箏在秦宮廷的地位。通過(guò)以上幾點(diǎn)的分析，結(jié)論如下：秦人的傳統(tǒng)音樂(lè)受自身民族形成的影響，來(lái)自西周廟堂樂(lè)和游牧民族的自由長(zhǎng)調(diào)；秦宮廷所沿襲的是西周雅樂(lè)；秦代“樂(lè)府”已經(jīng)“棄秦箏，就鄭衛(wèi)”，秦始皇以喜好“俗樂(lè)”而代替秦傳統(tǒng)音樂(lè)。 第二部分，先秦時(shí)期的箏樂(lè)藝術(shù)。有關(guān)箏樂(lè)的史料記載：有關(guān)箏樂(lè)的考古發(fā)現(xiàn)；箏和瑟、筑的關(guān)系；箏的形制；先秦時(shí)期箏的演奏形式；箏的彈奏方法及其義甲。通過(guò)以上幾點(diǎn)分析，得出結(jié)論：箏在先秦時(shí)期正史記載是公元前237年，《史記·李斯列傳》中，考古發(fā)現(xiàn)是在公元前500年，地點(diǎn)一是在江西貴溪(先秦時(shí)期的越國(guó))；二是在浙江紹興。但無(wú)史料記載，有待確鑿理論依據(jù)；通過(guò)箏與筑、瑟的比較，得出箏的形制：類(lèi)似長(zhǎng)方形的盒子，有一個(gè)共鳴箱，表面是面板，質(zhì)地有竹質(zhì)和木質(zhì)的，有弦，有箏碼，五弦和十三弦共存；箏的演奏形式是處于一種合奏、伴奏的狀態(tài)，通過(guò)考古發(fā)現(xiàn)，已經(jīng)初步認(rèn)定在先秦時(shí)期有類(lèi)似義甲的代替品。 第三部分，《諫逐客書(shū)》引發(fā)的秦音樂(lè)文化發(fā)展走向。通過(guò)對(duì)《諫逐客書(shū)》的分析研究，得出以下結(jié)論：秦箏是從民間入主宮廷又由宮廷流落到民間的循環(huán)傳播發(fā)展規(guī)律；先秦時(shí)期音樂(lè)文化發(fā)展走向分為三個(gè)階段：第一階段，從秦建國(guó)開(kāi)始至商鞅變法時(shí)期，這時(shí)期的音樂(lè)文化主要來(lái)自本國(guó)和本族，即來(lái)自西周廟堂樂(lè)和少數(shù)游牧民族的自由長(zhǎng)調(diào)，二者綜合為一體構(gòu)成秦國(guó)的傳統(tǒng)音樂(lè)。第二階段是秦商鞅變法開(kāi)始至秦始皇統(tǒng)治階段，這一時(shí)期的文化廣泛吸收六國(guó)文化的精華。第三階段是秦始皇統(tǒng)治階段至其建立第一個(gè)封建國(guó)家，這一階段不僅是對(duì)六國(guó)文 化的廣泛吸收，同時(shí)也是對(duì)本國(guó)的部分傳統(tǒng)文化的丟棄和對(duì)本族優(yōu)秀傳統(tǒng)文化加 以發(fā)揚(yáng)傳播：先秦時(shí)期音樂(lè)文化特性：包容性，指積極地吸取六國(guó)文化的精華， 功利性，吸取別國(guó)的優(yōu)秀文化，形成了文化雙向傳遞的特征。其目的是為了自己 更好地統(tǒng)治國(guó)家，開(kāi)放性，指在秦始皇統(tǒng)一全國(guó)之后，同樣把符合帝王意志的音 樂(lè)及音樂(lè)思想再一次的傳入新統(tǒng)一的地區(qū)。
[Abstract]:The period of the pre Qin period was an important period of transformation of Chinese history, from the decline of the slave society to the rise of the feudal society. This period has developed rapidly in all aspects of politics and economy; in the cultural aspect, there is a flourishing situation of "contending a hundred schools of contention" and "letting a hundred flowers bloom together". Instrumental music is made of musical instruments in the Western Zhou Dynasty. And divide the "eight tone", divide the string instruments into the harp, after the two kinds, the spring and Autumn period and the Warring States period joined the zither, build and other instruments, and the Zheng is the most representative instrument in this period, and became the symbol of the music culture of the Qin State. The full text is divided into three parts.
The first part, the musical cultural background of Qin Zheng, the meaning of "Qin Zheng": first, it refers to Chinese Zheng, two is the zither music of Qin Dynasty style, Qin people and their traditional music; the Qin Dynasty "yue fu" and Zheng's position in the court of Qin Dynasty. Through the analysis of the above points, the conclusions are as follows: the influence of Qin people's music is from the formation of its own nation, from the West. The free and long tune of the Zhou Temple music and the nomadic people; the Qin palace was followed by the Western Zhou Yale; the Qin Dynasty "Yuefu" has "abandoned Qin Zheng, Zheng Wei", and Qin Shihuang instead of the traditional music of Qin Dynasty instead of Qin.
The second part, the zheng music art in the pre Qin period. The historical records about the zither music: the archaeological discovery of Zheng music, the relationship between Zheng and Joseph, the form of Zheng, the form of Zheng in the pre Qin period, the method of playing the Zheng and its Yi Jia. Through the analysis of the above points, it is concluded that the Zheng records in the pre Qin period are 237 B.C., < history. In the biography of the biography of Li Si, the archaeological discovery was found in 500 BC. The site was in Guixi, Jiangxi (the Vietnam of the pre Qin period), and the two was in Shaoxing of Zhejiang. But there was no historical records, but there was no historical record. Quality and wood, strings, guzheng code, five chords and thirteen strings coexist; the form of Guzheng playing is in a kind of ensemble, the state of accompaniment, through archaeological discovery, it has been preliminarily identified as a substitute for a similar sense in the pre Qin period.
The third part is the development trend of Qin music culture. Through the analysis and study of the book, the following conclusions are drawn: the Qin Zheng is from the folk court to the court and from the court to the folk. The development trend of the music culture in the pre Qin period is divided into three stages: the first stage, starting from Qin Jianguo In the period of the Shang Yang transformation, the music culture of this period mainly came from the country and the family, that is, the temple music of the West Zhou Dynasty and the free and long tune of a few nomadic people, the two were integrated into the traditional music of the Qin Dynasty. The second stage was the Qin Shihuang rule from the Qin Dynasty to the beginning of the Qin Shihuang, and the culture of this period absorbed the essence of the culture of the six countries. The third stage is the period from Qin Shihuang's rule to the establishment of the first feudal state. This stage is not only about Liu Guowen.
It is widely absorbed, and it also discards some traditional cultures and adds excellent traditional culture to our country.
To spread and spread: the characteristics of music culture in pre Qin period: inclusiveness, which means absorbing the essence of six cultures.
Utilitarianism, absorbing the excellent culture of other countries, forms the characteristic of two-way transmission of culture.
Better governing the country, openness means that after Qin Shihuang unified the country, he also accords with the emperor's will.
Music and music were once again introduced into the new unified area.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2003
【分類(lèi)號(hào)】：J609.2

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前1條

1 張曉娟;中國(guó)弦樂(lè)史研究六十年（1949-2009）[D];福建師范大學(xué);2010年

相關(guān)碩士學(xué)位論文 前1條

1 陳龍勛;樂(lè)器與魏晉南北朝歌詩(shī)研究[D];青島大學(xué);2010年

本文編號(hào)：2057584