【摘要】：本文以管風(fēng)琴、古鋼琴、風(fēng)琴和鋼琴為研究對(duì)象，以明清時(shí)期社會(huì)歷史背景為基點(diǎn)，從中西文化交流的視角出發(fā)，立足于豐富翔實(shí)的文獻(xiàn)資料，對(duì)明清時(shí)期西方鍵盤樂(lè)器在中國(guó)的傳播歷程進(jìn)行了初步地梳理與研究，并就傳播中的特點(diǎn)及影響其傳播的原因作以較深入地分析，最后探討了它對(duì)近代中國(guó)音樂(lè)的發(fā)展所具有的深遠(yuǎn)影響。目的在于較為清晰地再現(xiàn)這段歷史原貌，從而進(jìn)一步拓展中國(guó)音樂(lè)史學(xué)的研究領(lǐng)域。全文共分三部分。 第一部分：緒論 此部分提出四個(gè)問(wèn)題：本課題的目的與意義，目前的研究現(xiàn)狀，研究方法及寫作思路。 第二部分：主體部分 分三章進(jìn)行闡述。 第一章，從西樂(lè)中傳的歷史背景入手，對(duì)明清時(shí)期西方鍵盤樂(lè)器在中國(guó)傳播的途徑作了扼要的闡述。其主要觀點(diǎn)有：西方鍵盤樂(lè)器是伴隨西方殖民主義的海外擴(kuò)張而傳入我國(guó)的，通過(guò)宗教、商人、外國(guó)使臣和戰(zhàn)爭(zhēng)四個(gè)途徑進(jìn)行傳播。 第二章，論述了管樂(lè)性鍵盤樂(lè)器在中國(guó)的傳播脈絡(luò)。第一節(jié)，從傳入時(shí)間、名稱、形制構(gòu)造及特點(diǎn)、以及各時(shí)期傳播情況等方面，對(duì)元代的“興隆笙”、澳門三巴寺之“風(fēng)琴”及清代的“管琴”作了歷時(shí)性回顧。認(rèn)為元代回回國(guó)進(jìn)獻(xiàn)的“興隆笙”是傳入中國(guó)最早的西方鍵盤樂(lè)器，管風(fēng)琴在中國(guó)的傳播可分為三個(gè)階段，并在樂(lè)器名稱、傳播主體、傳播途徑及功用等方面體現(xiàn)出不同特征。 第二節(jié)，通過(guò)中國(guó)人關(guān)于風(fēng)琴的見(jiàn)聞錄，王肇桓與“眾和”風(fēng)琴?gòu)S以及風(fēng)琴在社會(huì)上的傳播三個(gè)方面對(duì)風(fēng)琴的傳播脈絡(luò)作了整理與研究。其主要內(nèi)容有王肇桓創(chuàng)立的“眾和”風(fēng)琴?gòu)S是我國(guó)近代第一個(gè)風(fēng)琴制造廠，，新式學(xué)堂與教會(huì)學(xué)校中“琴科”的設(shè)立以及留日學(xué)生和日籍教員對(duì)風(fēng)琴的傳播。 第三章，論述了弦樂(lè)性鍵盤樂(lè)器在中國(guó)的傳播脈絡(luò)。第一節(jié)，主要論及兩大問(wèn)題。一是[明]萬(wàn)歷年間利瑪竇所獻(xiàn)古鋼琴，二是[清]康乾時(shí)期的古鋼琴。前者從利氏之琴“二進(jìn)”皇宮，西琴的形制與構(gòu)造以及《西琴曲意》三個(gè)方面對(duì)利氏所獻(xiàn)之琴作了全面闡述，并認(rèn)為利瑪竇是將擊弦式古鋼琴(Clavica)引入皇宮的第一人；后者對(duì)康乾時(shí)期宮中的古鋼琴進(jìn)行了具體介紹，其主要內(nèi)容有[清]康熙年間
[Abstract]:This article takes the organ, the ancient piano, the organ and the piano as the research object, taking the social and historical background of the Ming and Qing dynasties as the basic point, starting from the angle of the cultural exchange between China and the West, based on the rich and solid literature. This paper makes a preliminary study on the spreading process of western keyboard instruments in China during the Ming and Qing dynasties, and makes a deeper analysis on the characteristics of communication and the reasons that affect the spread of keyboard instruments. Finally, it discusses its profound influence on the development of modern Chinese music. The purpose is to reappear the history clearly and further expand the research field of Chinese music history. The full text is divided into three parts. The first part: introduction this part puts forward four questions: the purpose and significance of this subject, the present research situation, the research method and the writing thought. The second part: the main part is divided into three chapters. The first chapter, starting with the historical background of the Western Music in China, briefly expounds the ways of spreading western keyboard instruments in China during the Ming and Qing dynasties. The main points are as follows: Western keyboard instruments were introduced into China with the overseas expansion of Western colonialism, which were spread through four channels: religion, merchants, foreign envoys and wars. The second chapter discusses the transmission of wind keyboard instruments in China. The first section, from the introduction time, the name, the shape structure and the characteristic, as well as each period dissemination situation and so on, has made the diachronic review to Yuan Dynasty's "Xinglongsheng", Macao's "organ" and the Qing Dynasty's "Guan Qin". It is considered that "Xinglongsheng", which was brought back to China in Yuan Dynasty, was the earliest western keyboard instrument introduced into China. The dissemination of organ in China can be divided into three stages, and different characteristics are reflected in the name of the instrument, the main body of communication, the way of communication and the function of the instrument. The second section, through the Chinese people about the organ, Wang Zhaohuan and the "Zhonghe" organ factory and the organ in the social dissemination of three aspects of the collation and research on the transmission of organ. The main contents include the "Zhonghe" organ factory founded by Wang Zhaohuan, which is the first organ factory in modern China, the establishment of "piano" in the new-style school and the church school, and the dissemination of organ by Japanese students and Japanese teachers. The third chapter discusses the transmission of string keyboard instruments in China. The first section mainly deals with two major issues. One is the ancient piano presented by Matteo Ricci in Wanli and the other is the ancient piano in Kangqian period. The former elaborated the lyre from three aspects: "Erjin" palace, the form and structure of Xiqin and the meaning of "Xiqin", and considered that Ricci was the first person to introduce (Clavica) into the palace. The latter made a specific introduction to the ancient piano in the Kang-Qian period, the main contents of which were the Kangxi period.
【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】：2006
【分類號(hào)】：J609.2

【引證文獻(xiàn)】

相關(guān)期刊論文 前2條

1 林金水;代國(guó)慶;;利瑪竇研究三十年[J];世界宗教研究;2010年06期

2 張冰;;高等音樂(lè)教育視唱練耳課程中鋼琴運(yùn)用評(píng)析[J];浙江藝術(shù)職業(yè)學(xué)院學(xué)報(bào);2010年02期

相關(guān)碩士學(xué)位論文 前1條

1 肖承福;清前期西洋音樂(lè)在華傳播研究[D];暨南大學(xué);2010年

本文編號(hào)：2226224