摘要
琵琶艺术在近代以来经历了其发展史上的第三次高峰,不仅创作了大量乐曲和涌现出众多的表演大家,还成功地进行了乐器改革,从沿用至清末民初的传统四相十二品改革为六相十八品形制。正是由于乐器形制的变化奠定了后续琵琶音乐创作及表演繁荣的基础。本文通过史料调查、田野考证和对形制改革的分析,从应用律学理论上判定程午加方案是较成功的改革成果,同时也厘清了史实。
Pipa art experienced the third peak of developmental history in modern times, not only the creation of a large number of music works and emerged in numerous performing masters, but also successfully carried out the reform of this musical instrument, from the shape of traditional 4 ledges 12 frets used till the late Qing Dynasty reformed for the shape of 6 ledges 18 frets. It is due to the changes in the shapes of the instrument laid the foundation for subsequent pipa music creation and performance prosperity. Through the investigation of historical materials, field textual research and analysis of shape reform, this paper according to the applicational theory of musical temperament determined the Cheng Wujia's project being a more successful result of reform, and meanwhile clarified the historical facts.
出处
《黄钟（武汉音乐学院学报）》
CSSCI
北大核心
2016年第2期100-106,共7页
Huangzhong:Journal of Wuhan Conservatory of Music
关键词
程午加
琵琶形制
乐器改革
民族乐器
Cheng Wujia(1901-1985)
pipa shape
reform of pipa
folk instrument
