本文選題：南音 + 南簫�。� 參考：《中國音樂》2017年04期

【摘要】：在漫長的藝術(shù)發(fā)展史上,南音總是在繼承前人的基礎(chǔ)上,通過不斷的革新或改良使其趨于完善。然而,在南音發(fā)展已頗為成熟、完備,且被選為世界"非遺"的背景下,對其任何形式的改良與革新則應(yīng)慎之又慎。當(dāng)代著名南簫研制者、國家一級演奏員阿四先生冒著被傳統(tǒng)南樂界深度"置疑""批評"的風(fēng)險,對南簫的改良進(jìn)行了長達(dá)三十多年的探索,為解決六孔洞簫在演奏"倍思管"樂曲或伴奏南音曲唱時長期存在的所謂"音不準(zhǔn)"現(xiàn)象提供了極具價值的借鑒。同時,他對傳統(tǒng)南簫演奏手法和慣用手勢長期采用"右手在上、左手在下"等現(xiàn)象,也提供了可資借鑒的一家之言和改良途徑,具有較強(qiáng)的現(xiàn)實意義。
[Abstract]:In the long history of artistic development, Nanyin always inherits its predecessors and makes it perfect through continuous innovation or improvement. However, under the background that the development of Nanyin is quite mature and complete, and it is chosen as "non-posthumous" in the world, the improvement and innovation of Nanyin in any form should be taken with great care. At the risk of being "questioned" and "criticized" by the traditional southern music circles, Mr. Ah Si, a famous contemporary Nanxiao developer and national first class performer, has been exploring the improvement of Nanxiao for more than 30 years. It provides a valuable reference for solving the phenomenon of the so-called "inaccuracy" that exists for a long time when the six-hole Xiao plays the music of "double thought tube" or accompaniment to the song of southern tone. At the same time, he used the phenomenon of "the right hand in the top, the left in the bottom" for a long time.
【作者單位】： 泉州師范學(xué)院音樂與舞蹈學(xué)院;泉州師范學(xué)院"福建省南音文化傳承與發(fā)展協(xié)調(diào)創(chuàng)新中心";泉州師范學(xué)院南音學(xué)院;
【基金】：2014年度國家社科基金藝術(shù)學(xué)項目“南音傳承方式研究”(項目編號14BD048)的階段性研究成果
【分類號】：J632.13
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本文編號：1902041