浙江筝艺在上海的发展
发布时间：2019-01-04 23:02
【摘要】：筝,作为一件具有鲜明中国特色的民族乐器,在演奏艺术上经历了从起源到成长、兴盛和再发展变化的过程。我国各地的筝艺术和各地具有地域特色的文化传统、风俗民情、方言语音及其它民间音乐有着血肉联系,并各自保持了鲜明的特点。本文分别运用了“筝艺”和“筝派”两个不同的概念:各地具有地方特色的古筝艺术,称为“筝艺”;其中特色鲜明,流传比较集中,影响较大,并传统地形成了一定固有的传承方式、经验,积累了一定的曲目,有一定数量较有影响的艺人群的“筝艺”,可称为“流派”或“筝派”。“筝艺”是个比较广泛的概念,“筝派”是在筝艺基础上形成、具有鲜明特色的乐派。笔者通过对于“筝艺”与“筝派”的认识,较全面地研究了“浙江筝艺流派”从“筝艺”发展成为一个成熟的“流派”的过程。 在上述研究过程中,本人一方面参考了大量相关的文献材料,另一方面也直接走访了诸多对本文具有重大意义的相关人士。更值得一提的是,本人的硕士研究生导师孙文妍先生即为“浙江筝派”大师王巽之之嫡传学生。通过他们的言传身教,使得本文的立论、观点和内容得到了更充分的丰富与翔实。除了相关资料外,本人还通过对“浙江筝艺流派”的乐曲的演奏获得了最直接的体会。 本文认为“浙江筝派”与其他四个传统古筝流派的不同之处在于:一般传统筝派形成得比较早,而“浙江筝派”从一般“筝艺”向“筝派”发展的起步较晚,在其发展过程中,由王巽之先生带进了上海,较早进入了上海专业音乐教育的殿堂、吸取了专业音乐文化的营养、注入了不同于一般传统筝派的新的成分,获得新的发展。在不断丰富的技法和曲目的过程中“浙江筝艺”在“筝派”特征逐渐趋于成熟,融入了上海专业音乐院校的教学,以一种新的思路发展、成熟。它已经跳出了传统意义的“流派”的范畴,而先行进入专业音乐的行列。 通过对“传统筝艺流派概述”、“传统的杭州筝艺”、“杭州筝的近代演变过程”、“浙江筝艺”对现代筝艺发展的贡献以及针对在“浙派筝艺”影响下,上海古筝艺术发展的各个阶段特性的研究,本文详细阐述“浙江筝派”从形成到流入乃至丰富发展的全过程。说明了“浙江筝艺流派”虽然作为古筝五大流派之一,但其形成与发展是迥异于另外的传统南北四大流派的。古筝传统的南北四大流派
[Abstract]:Zheng, as a national musical instrument with distinct Chinese characteristics, has experienced a process from its origin to its growth, prosperity and re-development. The art of Zheng in various parts of our country and the cultural traditions, customs and feelings of people, dialect pronunciation and other folk music have blood and flesh ties, and each of them maintains distinct characteristics. This paper uses two different concepts of "Zheng art" and "Zheng school": the art of guzheng with local characteristics is called "Zheng art"; Among them, distinctive features, relatively concentrated dissemination, greater influence, and the traditional formation of a certain inherent way of inheritance, experience, accumulated a certain number of songs, there are a certain number of more influential artists group "Zheng art," It can be called "school" or "Zheng school". Zheng Art is a broad concept. Zheng School is formed on the basis of Zheng Art and has distinct characteristics. Based on the understanding of "Zheng Art" and "Zheng School", the author studies the process of "Zhejiang Zheng Art School" developing from "Zheng Art" to "Zheng School". In the course of the above research, on the one hand, I refer to a large number of relevant documents, on the other hand, I also directly visit a lot of people who are of great significance to this paper. What is more worth mentioning is that my Master Mr. Sun Wenyan is a "Zhejiang Zheng School" master Wang Xunzhi's students. Through their teaching, the thesis's argument, viewpoint and content are more abundant and detailed. In addition to the relevant materials, I also obtained the most direct experience by playing the music of Zhejiang Zheng Art School. This paper points out that the difference between Zhejiang Zheng School and other four traditional Zheng schools lies in the fact that the general traditional Zheng school came into being earlier, while the Zhejiang Zheng School started late from the general Zheng Art to the Zheng School, and in the process of its development, the Zhejiang Zheng School started relatively late. Mr. Wang Xunzhi brought into Shanghai, entered the temple of Shanghai professional music education earlier, absorbed the nutrition of professional music culture, injected new elements which are different from the general traditional Zheng school, obtained the new development. In the process of constantly enriching techniques and repertoire, the characteristics of Zhejiang Zheng Art in Zheng School tend to mature gradually, and they are integrated into the teaching of Shanghai specialized Music College, and developed and matured with a new way of thinking. It has jumped out of the traditional sense of "school", and entered the ranks of professional music. Through "the traditional Zheng art school outline", "the traditional Hangzhou Zheng art", "Hangzhou Zheng's modern evolution process", "Zhejiang Zheng art" contribution to the modern Zheng art development and under the "Zhejiang Zheng art" influence, In this paper, the author expounds in detail the whole process of Zhejiang Zheng School from its formation to its inflow and even its rich development through the study of the characteristics of each stage of the art development of Shanghai Guzheng. It shows that "Zhejiang Zheng Art School" is one of the five schools of zither, but its formation and development are quite different from the other four schools of traditional north and south. The four schools of the south and north of the zither tradition
【学位授予单位】：上海音乐学院
【学位级别】：硕士
【学位授予年份】：2005
【分类号】：J609.2
本文编号：2400913
[Abstract]:Zheng, as a national musical instrument with distinct Chinese characteristics, has experienced a process from its origin to its growth, prosperity and re-development. The art of Zheng in various parts of our country and the cultural traditions, customs and feelings of people, dialect pronunciation and other folk music have blood and flesh ties, and each of them maintains distinct characteristics. This paper uses two different concepts of "Zheng art" and "Zheng school": the art of guzheng with local characteristics is called "Zheng art"; Among them, distinctive features, relatively concentrated dissemination, greater influence, and the traditional formation of a certain inherent way of inheritance, experience, accumulated a certain number of songs, there are a certain number of more influential artists group "Zheng art," It can be called "school" or "Zheng school". Zheng Art is a broad concept. Zheng School is formed on the basis of Zheng Art and has distinct characteristics. Based on the understanding of "Zheng Art" and "Zheng School", the author studies the process of "Zhejiang Zheng Art School" developing from "Zheng Art" to "Zheng School". In the course of the above research, on the one hand, I refer to a large number of relevant documents, on the other hand, I also directly visit a lot of people who are of great significance to this paper. What is more worth mentioning is that my Master Mr. Sun Wenyan is a "Zhejiang Zheng School" master Wang Xunzhi's students. Through their teaching, the thesis's argument, viewpoint and content are more abundant and detailed. In addition to the relevant materials, I also obtained the most direct experience by playing the music of Zhejiang Zheng Art School. This paper points out that the difference between Zhejiang Zheng School and other four traditional Zheng schools lies in the fact that the general traditional Zheng school came into being earlier, while the Zhejiang Zheng School started late from the general Zheng Art to the Zheng School, and in the process of its development, the Zhejiang Zheng School started relatively late. Mr. Wang Xunzhi brought into Shanghai, entered the temple of Shanghai professional music education earlier, absorbed the nutrition of professional music culture, injected new elements which are different from the general traditional Zheng school, obtained the new development. In the process of constantly enriching techniques and repertoire, the characteristics of Zhejiang Zheng Art in Zheng School tend to mature gradually, and they are integrated into the teaching of Shanghai specialized Music College, and developed and matured with a new way of thinking. It has jumped out of the traditional sense of "school", and entered the ranks of professional music. Through "the traditional Zheng art school outline", "the traditional Hangzhou Zheng art", "Hangzhou Zheng's modern evolution process", "Zhejiang Zheng art" contribution to the modern Zheng art development and under the "Zhejiang Zheng art" influence, In this paper, the author expounds in detail the whole process of Zhejiang Zheng School from its formation to its inflow and even its rich development through the study of the characteristics of each stage of the art development of Shanghai Guzheng. It shows that "Zhejiang Zheng Art School" is one of the five schools of zither, but its formation and development are quite different from the other four schools of traditional north and south. The four schools of the south and north of the zither tradition
【学位授予单位】：上海音乐学院
【学位级别】：硕士
【学位授予年份】：2005
【分类号】：J609.2
【引证文献】
相关博士学位论文 前1条
1 张晓娟;中国弦乐史研究六十年（1949-2009）[D];福建师范大学;2010年
，本文编号：2400913
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