發(fā)布時間：2018-03-10 01:19

  本文選題：中國箏　切入點：日本箏　出處：《上海音樂學(xué)院》2006年碩士論文　論文類型：學(xué)位論文

【摘要】：箏在中國已有2500至3000年的歷史了，是地道的華夏傳統(tǒng)樂器。早期的箏為五弦，隨著時代的發(fā)展，箏的弦數(shù)不斷增加，至盛唐時期十三弦箏趨于普及。此時正值日本的奈良時期(710～794年)，十三弦箏隨著中國的燕樂傳入日本，成為日本雅樂管弦合奏的樂器之一，稱為樂箏。后來一部分流落到寺院和民間，，先后形成了“筑紫箏”和“俗箏”，產(chǎn)生了生田流、山田流兩派直到現(xiàn)在。 從此箏在中日兩國沿著不同的軌跡在發(fā)展，日本自俗箏產(chǎn)生之始就形成了流派，并且形制和弦數(shù)都沒有改變；而中國箏發(fā)展到20世紀(jì)50年代，二十一弦趨于普及，并且學(xué)術(shù)界對流派開始比較統(tǒng)一的以地域劃分并以具體省份命名，本文就中日兩國箏流派的差異從以下幾個方面作一比較：1，流派形成的時間規(guī)律；2，流派形成的原因和條件；3，流派的部分音樂形態(tài)：4，流派的傳承。 本文歷史音樂學(xué)和民族音樂學(xué)的研究方法就以上四個方面對中國二十一弦箏和日本十三弦箏所各自形成的流派進(jìn)行比較分析，并試圖通過日本特色文化的形成、兩國不同的民族性、日本家元制度以及兩國儒家思想的不同核心點等方面解析中日兩國在不同的文化環(huán)境中所展開的箏樂含義，從而解構(gòu)這種生存現(xiàn)象后的深層意義和文化變遷原因。
[Abstract]:Zheng has a history of 2, 500 to 3000 in China. It is a traditional Chinese musical instrument. The early zither was five strings. With the development of the times, the number of zither strings has been increasing. At that time, during the Nara period of Japan, 13 strings Zheng was introduced into Japan with the Yan music from China, and became one of the instruments of Japanese Artemis orchestral ensemble. Later, a part of the temple and folk, has formed "Zizheng" and "vulgar Zheng", resulting in the birth of Tian Liu, Mountain Tian Liu two schools until now. Since then, the zither has developed along different tracks in China and Japan. Since the beginning of the generation of the popular Zheng, Japan has formed a school, and the number of shapes and chords has not changed. In 1950s, the Chinese Zheng developed, and the 21 strings tended to become popular. And the academic community began to unify the schools by dividing them into regions and naming them after specific provinces. This paper compares the differences of Zheng schools between China and Japan from the following aspects: 1, the time law of the formation of the schools, the reasons and conditions for the formation of the schools, the music form of the schools: 4, and the inheritance of the schools. The research methods of historical musicology and ethnomusicology in this paper compare and analyze the schools of Chinese 21 string Zheng and Japanese 13 string Zheng in the above four aspects, and try to form the culture with Japanese characteristics. The different national characteristics of the two countries, the Japanese Jiayuan system and the different core points of Confucianism between the two countries, and so on, to analyze the meaning of Zheng music developed by China and Japan in different cultural environments. In order to deconstruct the existence of this phenomenon after the deep meaning and cultural changes.
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2006
【分類號】：J632.32

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 王雅婕;;流動的東亞音樂歷史博物館——評趙維平《中國與東亞音樂的歷史研究》[J];交響(西安音樂學(xué)院學(xué)報);2012年04期

相關(guān)碩士學(xué)位論文 前3條

1 夏金甌;幽玄之蓄，水墨之意[D];中央音樂學(xué)院;2011年

2 吳丹;傳承中的20世紀(jì)中日箏樂藝術(shù)[D];湖南師范大學(xué);2011年

3 任洲洋;試論現(xiàn)當(dāng)代中國箏樂的另類演繹[D];上海音樂學(xué)院;2012年

本文編號：1591133