本文關鍵詞：江南絲竹、廣東音樂中二胡與高胡演奏技法之比較研究，，由筆耕文化傳播整理發(fā)布。

江南絲竹、廣東音樂是我國兩大代表性絲竹樂種,鼎盛于上世紀二三十年代,廣東音樂甚至還有著在滬發(fā)展、興盛的特殊經(jīng)歷,兩大樂種得以有頻繁的接觸和交流,因此,二者在曲目、樂器、演奏上都有一定程度的影響與滲透�？梢哉f,這段兩大樂種交匯發(fā)展的歷史客觀上為廣東音樂主奏樂器高胡的誕生帶來了契機,進而開創(chuàng)了廣東音樂發(fā)展歷史的新紀元。二胡與高胡分別作為兩大樂種的主奏樂器,是其風格呈現(xiàn)的重要載體,且兩者有著深厚的歷史淵源。高胡不僅從形制上脫胎于二胡,就與二胡的基本演奏法比較米看,可列為二胡的地方流派,并且當代二胡的演奏技術發(fā)展軌跡也極大程度地刺激、影響著高胡的演奏技術發(fā)展趨勢。她們各自作為兩大絲竹樂種的主奏樂器,通過特殊的演奏技法來呈現(xiàn)其鮮明的地方音樂風格。不僅如此,廣東音樂、粵劇伴奏的樂隊編制,常常有納入二胡聲部,其演奏章法則主要借鑒自高胡。研習、掌握江南絲竹、廣東音樂的演奏風格,是二胡演奏者完備、積蓄地方音樂風格演奏經(jīng)驗不可或缺的項目。一直以來,對兩樂種演奏風格的學習方式主要是口傳心授加上在實踐中揣摩、總結規(guī)律,但目前兩樂種在民間已不復當年的交流盛況,學院內的傳統(tǒng)絲竹樂演奏與民間生存狀態(tài)下的絲竹樂演奏有相當程度的脫節(jié),亦有偏重于本地樂種風格訓練的情況出現(xiàn),同時,民間絲竹樂社又鮮有專業(yè)二胡演奏者的加入,交流氛圍的削弱使傳統(tǒng)絲竹樂的演奏出現(xiàn)了“學院”與“民間”的兩極分化,其繼承與發(fā)展正遭遇著演奏規(guī)范化、譜面化與講求即興變化之間的尷尬,因此對于即興演奏技法的整理、歸納亟待解決。再者,以二胡、高胡演奏兩絲竹樂種,其風格性的呈現(xiàn)主要都是通過加花、滑音、裝飾音、弓法等藝術手法即興發(fā)揮,在演奏法的運用規(guī)律上二者既存顯著差異又不乏共性。如果對樂種的音韻特點缺乏足夠的認識,在相關技法的細節(jié)把握上可能會出現(xiàn)“張冠李戴”的情形,導致演奏風格的不倫不類。帶著這樣的初衷,筆者查閱了相關文獻資料,發(fā)現(xiàn)關于兩大樂種的歷史、音樂風格、曲式旋法及未來走向等課題一直是研究熱點;涉及江南風格的二胡演奏法、廣東音樂高胡演奏法的研究亦有一定成果;而基于兩樂種比較性質的研究則顯得罕見,較為系統(tǒng)的僅見上海音樂學院音樂學研究方向阮弘博士的畢業(yè)論文《江南絲竹與廣東音樂在上海的嬗變同異概觀》,另外在一些粵樂專論中散見著零星的談及兩樂種關聯(lián)的論述;至于比較研究兩樂種中代表性樂器二胡與高胡的演奏技法,尚為空白。有鑒于此,筆者搜集、參閱了大量的文獻資料、音響資料,走訪了上海地區(qū)的絲竹樂社,并請教兩樂種的胡琴名家,結合自己的學習、演奏經(jīng)驗,試從演奏法比較的角度切入,通過對江南絲竹、廣東音樂特征性演奏手法的梳理與比較來明晰二者演奏特點上的區(qū)別,為準確詮釋其樂種風格、及吸收其風格元素的現(xiàn)代創(chuàng)作作品提供一定的理論依據(jù)。全文分為三個章節(jié):第一章通過對上述兩樂種歷史交集的回顧引出高胡的創(chuàng)制,從其誕生及演奏技法兩方面來推論、揭示高胡與二胡兩者間的關系;第二章扼要闡述了二胡與高胡分別在兩樂種傳統(tǒng)合奏形式中的定位;第三章為重點章節(jié),詳細分析、比較了二胡、高胡在兩樂種風格詮釋上相關技法的異同,其中又著重于對二者差異的說明。'); Thriving at their best in the 1920s and 30s, Jiangnan sizhu (the "silk and bamboo" instrumental chamber music from the south bank of the lower Yangtze River )and Guangdong yinyue (Cantonese music) are two typical types of silk-and-bamboo music and especially, the latter even experienced its special development and booming in Shanghai, resulting in their all-too-frequent contact and exchange, which, in a way, bring in the two\'s sharing the influence and permeation with each other. As it were, the merging of these two big kinds of music in their developments objectively caused the birth of gaohu (a high-pitched fiddle), the principal instrument in Guangdong yinyue and opened a new era for the development of it.As the principal instruments separately in the two great types of music, erhu and gaohu are the important carriers of their styles and they possess a long historical origin. Besides being born out of erhu, gaohu, according to its basic performing technique, can be included in the former\'s local schools and as for performing techniques, its development trend is greatly being influenced and inspired by its counterpart in erhu. Being the dominant instruments separately in the two types of silk-and-bamboo music, they represent the unique styles of local music through their special performing techniques. What\'s more, in Guangdong yinyue and Yueju (Cantonese opera) ,they are always including erhu, whose performing techniques make use of those of gaohu.To study and acquire the playing styles of Jiangnan sizhu and Guangdong yinyue is essential for erhu player to perfect and collect his/hers playing experiences of local musical genres. As well as the understanding rooted in practice and summarizing rules, oral teaching which inspires true understanding, has always been the way of studying the playing styles of these two types of music. However, the grand occasions for exchanging in the two types of music have been no longer in existence; as it comes along, the performances of silk-and-bamboo music in colleges are barely connected to ones of genuine folk music and training biased toward the style of local music also appears, at the same time, with few professional erhu players taking part in folk music clubs for silk-and-bamboo music. The weakened communication atmosphere for traditional silk-and-bamboo music has led to the polarization between "the academic school" and "the folk school" and its succession and development is experiencing the embarrassing collisions among playing standardization, score-using standardization and improvisation; therefore, as far as the techniques of improvisation is concerned, their class   江南絲竹、廣東音樂中二胡與高胡演奏技法之比較研究

摘要 4-5

Abstract 5-8 緒論 8-12 第一章 高胡與二胡的關系 12-18     第一節(jié) 高胡誕生的歷史背景 12-13     第二節(jié) 高胡的創(chuàng)制及意義 13-16     第三節(jié) 高胡與二胡的實質關系 16-18 第二章 二胡、高胡各自在江南絲竹、廣東音樂中的演奏定位 18-22 第三章 二胡與高胡于兩樂種中風格性演奏技法之比較 22-75     第一節(jié) 即興加花 22-51         第一條 常見樂匯旋法及基本加花手法 22-39         第二條 加花的功用性與加花手法的聯(lián)系 39-51     第二節(jié) 滑音 51-66     第三節(jié) 裝飾音 66-71     第四節(jié) 弓法 71-75 結語 75-81 參考文獻 81-85 致謝 85

  本文關鍵詞：江南絲竹、廣東音樂中二胡與高胡演奏技法之比較研究，由筆耕文化傳播整理發(fā)布。