發(fā)布時(shí)間：2018-06-08 01:38

  本文選題：古琴 + 古箏��； 參考：《四川師范大學(xué)》2017年碩士論文

【摘要】：在中國(guó)綿長(zhǎng)的音樂(lè)歷史長(zhǎng)河中,從春秋時(shí)代所流行的“雅樂(lè)”與“鄭聲”,到武、文之世的“陽(yáng)春白雪”和“下里巴人”,以至清末之時(shí)的“雅”、“花”部,數(shù)千年的時(shí)光荏苒,始終貫穿著“雅”與“俗”的分野,存在著分庭對(duì)峙的主客觀現(xiàn)象。但由于“雅”、“俗”之功用無(wú)法替換,必然面臨并存、互補(bǔ)的局面。同屬?gòu)棑軜?lè)器的古琴和古箏,在音樂(lè)史上似乎賦予了“雅”、“俗”之別,其實(shí),二者均以各自的表現(xiàn)方式體現(xiàn)著中華傳統(tǒng)文化的精髓和蘊(yùn)含。無(wú)論是兩種樂(lè)器的形制發(fā)展,還是演奏技術(shù)的相互借鑒,或是曲目的移植,或是各自受眾群的多寡等等方面,都是既有獨(dú)特性,又相互補(bǔ)充、相互促進(jìn)、相互對(duì)比、協(xié)調(diào)發(fā)展。本文將對(duì)古琴和古箏的文化內(nèi)涵、音樂(lè)特質(zhì)及相互的影響進(jìn)行比較和分析,從而揭示二者在中國(guó)音樂(lè)體系中的重要地位,進(jìn)行文化意蘊(yùn)和大眾審美的關(guān)照。全文分六個(gè)部分進(jìn)行論述。第一部分,緒論。主要廓清論文的研究目的、領(lǐng)會(huì)研究意義,尋找和擬定基本的研究方法,采集整理有關(guān)理論文獻(xiàn),為后續(xù)研究提供素材和視角。第二部分,古琴和古箏的流變。主要從兩者結(jié)構(gòu)的形成與發(fā)展、古箏對(duì)古琴傳世作品移植以及古琴和古箏的人文思考三個(gè)方面進(jìn)行綜合分析,為開(kāi)篇和深度切入提供著眼點(diǎn)。第三部分,古琴和古箏的文化差異。主要從古琴和古箏的主體差異和古琴古箏流派的差異兩方面進(jìn)行對(duì)比研究,理清兩者的異同及發(fā)展脈絡(luò)。第四部分,琴曲移植為箏曲的文化融合。主要從移植的可能性、移植時(shí)對(duì)演奏法的要求以及琴曲移植為箏曲的表現(xiàn)力分析三個(gè)層次進(jìn)行逐個(gè)研究,獲得移植的參考與結(jié)論性意見(jiàn)。第五部分,現(xiàn)階段古琴和古箏的發(fā)展模式。主要從古琴曲高和寡帶來(lái)的尷尬局面、古箏對(duì)古琴的取代現(xiàn)象以及二者對(duì)中國(guó)傳統(tǒng)文化的傳遞三個(gè)層次進(jìn)行深入探討。第六部分,結(jié)束語(yǔ)。主要做出結(jié)論和展望,以古琴古箏的文化屬性為基準(zhǔn),探討其藝術(shù)價(jià)值的本質(zhì)定性問(wèn)題,期盼兩者在繼承中發(fā)展、在革新中前進(jìn)。
[Abstract]:In the long history of Chinese music, the "Yale" and "Zheng Sheng", which is popular in the spring and Autumn period, are "elegant", "flower" and "elegant", "Hua" and "vulgar" in the end of the Qing Dynasty. But because of "elegance" and "vulgar" function cannot be replaced, it is inevitable to face coexistence and complementation. The ancient harp and zither, which belong to the plucked musical instruments, seem to have given "elegance" and "vulgar" in the history of music. In fact, the two all reflect the essence and the implication of the Chinese traditional culture in their own way of expression, whether two instruments. The development of the form system, or the mutual reference of playing techniques, or the transplantation of the repertoire, or the number of their respective audiences, are both unique and complementary, mutual promotion, mutual contrast and coordinated development. This article will compare and analyze the cultural connotations of Guqin and guzheng, the characteristics of music and music, and the influence of each other, so as to reveal two In the Chinese music system, the important status of the cultural connotation and mass aesthetic care. The full text is divided into six parts. The first part, introduction, mainly clarifies the purpose of the research, comprehends the research significance, seeks and draws up the basic research methods, collects and collects the relevant theoretical literature, and provides material and perspective for the follow-up research. The second part, the evolution of the Guqin and guzheng, mainly from the formation and development of the two structures, the zither's transplanting of the ancient organ and the humanistic thinking of the Guqin and guzheng in three aspects, which provide the point of opening and depth. The third part, the cultural differences between the Guqin and the guzheng, mainly from the main difference between the Guqin and the guzheng. The difference and the guzheng School of the difference between the two aspects of the difference and study to clarify the similarities and differences between the two and the development of the context. The fourth part, the piano music transplantation to the cultural integration of zither music, mainly from the possibility of transplantation, the requirements of the transplantation of the performance method and the expression of the grafts to the Guzheng music of the three levels. The fifth part, the present stage of the development of Guqin and guzheng, mainly from the awkward situation that the Guqin and the Guqin have brought by the guqin, the substitution of the guither to the Guqin and the three levels of the transmission of the Chinese traditional culture by the two, and the conclusion and the prospect of the guzheng, with the Guqin guzheng On the basis of cultural attribute, we discuss the essential qualitative problem of its artistic value, and hope that both of them will develop in the process of inheritance and move forward in innovation.
【學(xué)位授予單位】：四川師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J632.3

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 楊瑤瑤;;古箏與古琴異同初探[J];北方音樂(lè);2016年04期

2 龍妮;;古箏藝術(shù)的創(chuàng)新及其文化審美屬性[J];音樂(lè)時(shí)空;2016年02期

3 張艷;;關(guān)于當(dāng)代古琴藝術(shù)傳播的思考[J];音樂(lè)傳播;2014年04期

4 顧碩;;淺談古琴、古箏的文化內(nèi)涵與雅俗音樂(lè)的審美并存[J];音樂(lè)創(chuàng)作;2013年12期

5 陳窈;;淺論當(dāng)代古箏演奏的審美趨向[J];樂(lè)府新聲(沈陽(yáng)音樂(lè)學(xué)院學(xué)報(bào));2012年04期

6 張薇薇;;移植樂(lè)曲對(duì)箏樂(lè)發(fā)展的影響[J];吉林藝術(shù)學(xué)院學(xué)報(bào);2012年04期

7 李偉;;從移植到創(chuàng)新:對(duì)我國(guó)古箏音樂(lè)創(chuàng)作的審視[J];北方音樂(lè);2012年04期

8 蕭漫宇;;淺談古琴與古箏之異同[J];桂林師范高等�？茖W(xué)校學(xué)報(bào);2012年02期

9 胡斌;;“派別”話語(yǔ)下的古琴音樂(lè)認(rèn)同[J];星海音樂(lè)學(xué)院學(xué)報(bào);2010年03期

10 蘭慶煒;;古箏藝術(shù)的研究現(xiàn)狀與理論思考[J];大眾文藝;2010年04期

相關(guān)碩士學(xué)位論文 前3條

1 楊悅;對(duì)當(dāng)代古箏藝術(shù)西化趨勢(shì)的思考[D];東北師范大學(xué);2010年

2 崔潔;新時(shí)期古箏藝術(shù)的創(chuàng)新及其文化審美屬性[D];山東大學(xué);2010年

3 關(guān)孟華;雅俗之路——琴箏音樂(lè)文化差異論[D];南京師范大學(xué);2005年

，

本文編號(hào)：1993794