摘要
江南丝竹的二胡,源起于明嘉靖年间从北方传入江南被称为“提琴”的胡琴。自清乾隆、嘉庆年间之后,这种包括提琴、二胡(二弦)在内的各种胡琴形制,在戏曲“乱弹”、坐唱“滩簧”、时调小曲伴奏中得到重用,从丝竹乐器群体中脱颖而出,一跃登上“近百年来,二弦(即胡琴)独张”的位置,在戏曲说唱“包腔”演奏的频频实践中,积累着深厚“声腔化”演奏传统。江南丝竹二胡演奏,秉承这一传统,与其它相关乐器,共同塑造了江南丝竹乐种曲目演奏上的鲜明地域化风格。
Erhu of String and Bamboo of South Yangtze River originated with HuQin, named “TiQin”, spread from north of China to South of Yangtze River at the age of Jiajing, Ming dynasty. After the age of Qianlong and Jiaqing, Qing dynasty, various HuQins, including TiQin, Erhu(two strings), were extensively used in opera “ Luan Tan”, “Tan Huang” and seasonal songs, and distinguished themselves from other instruments, achieving unique position in hundred years. Erhu performers accumulated deep “dramatic intonation ” performing tradition in frequent practice, accompanying artists in opera “Bao Qiang”. Erhu performer, inheriting the “dramatic intonation” performing tradition, with other relevant instruments, together shaped the clearly local performing style of String and Bamboo of South Yangtze River.
出处
《南京艺术学院学报（音乐与表演版）》
2007年第2期9-15,57,共8页
Journal of Nanjing Arts Institute:Music & Performance
关键词
江南丝竹
二胡
声腔化
演奏传统
String and Bamboo of South Yangtze River
Erhu
dramatic intonation
performing tradition
