“橘 生 淮 北”--论越南传统音乐中的越南外传弹拨乐器的探讨Study of "orange Huaibei" -- on Vietnamese traditional music in Vietnam - plucked instruments 摘要:（摘要内容经过系统自动伪原创处理以避免复制，下载原文正常，内容请直接查看目录。） 随同着越南文明的开放政策，越南近几年的音乐也开端走向了疾速成长之路，在音乐教导、音乐扮演等范畴都获得了注视的造诣。然则，作为音乐学实际则成长严重滞后，特殊是越南音乐史学的研究，在越北国内鲜有人问津。自己作为越南籍先生，愿望能依托中国音乐学院和越南胡志明市音乐学院两个学术后援，从中越文明交换中的典范乐器一别传弹拨乐器作为切入点，力争摸索、略论中国音乐文明圈对越南音乐的作用，弥补中国与西北亚国度音乐文明交换相干研究软弱这一空白。全文除绪论、结论外，分为六章，最初是参考书目。绪论中陈说选题的目标和意义。这部门强调对于各类弹拨乐器流变轨迹研究，越语论文题目，越语论文网站，经浩瀚学者的研究考据，结果颇丰，部门研究结果已杀青共鸣。然则对越南别传弹拨乐器在汗青变迁、形制结构方面毕竟有何作用，在越南本国及东亚列国都没有详实而体系的研究。所以这篇论文也将为中国音乐学界更好地懂得越南音乐，供给一些自创和赞助。第一章，越南有名音乐学者陈文溪传授在他的论文《越南传统音乐，巴黎—1962》(La musique Vietnamienne Traditionnelle。 Paris，1962)及《越南琵琶的倾吐，2017))中以为与10世纪琵琶、筝、月琴、二胡等传到越南的。其根据是以越南河北省仙山县佛迹寺1057年建造该、寺立柱上十一世纪初的浮雕(一尊浮雕，个中有弹琵琶、月琴、筝等者)，由此以为琵琶、月琴、筝等最晚于10世纪曾经涌现在越南了起首，本文在诸多证据的支撑下，特别经由过程越南、中国的史料，得出琴、琵琶、五弦等的乐器更有能够是由扶北国(现越南南部)传入在林邑国(现越南中部一带)进一步成长的成果，而传入时光最晚在公元5世纪。这一论证颠覆了越南以此陈文溪传授与即琵琶、筝、月琴、二胡等是在公元10世纪阁下传入越南为代表的现有的较为广泛的不雅点。第二章，经由过程具体的剖析，指出中国弹拨乐器与越南别传弹拨乐器的称号及外形的关系。第三章，引见越南别传弹拨乐器的形制、吹奏办法及其运用场所。经由过程引见越南各类传统戏剧和平易近间音乐，窥测越南别传弹拨乐器在个中的运用情形。第四章，本章强调越南音腔、音阶、独有的调式转换等是越南各类传统音乐中别传弹拨乐器的音乐特点的成因。第五章，“野外任务”是平易近族音乐学傍边最主要的一种办法。本章是笔者在中国、台湾、越南北、中、南部等的处所对乐器停止考核、对师生各类乐器专业及平易近间艺人采访的材料。第六章，从越南分歧时代的社会轨制、文明作用、平易近族的审好意识和说话特点，来深刻商量越南别传弹拨乐器的构成缘由及成长过程。 Abstract: Along with the opening policy of Vietnam, Vietnam in recent years, the music has begun to move towards the road of rapid growth, in the field of music teaching, music play has received a look at the attainments. However, as the music to learn the actual growth is seriously lagging behind, especially Vietnam music historiography research, in the Northland few people interested. Himself as a Vietnamese Mr. hope to rely on the China Conservatory of music and the Ho Chi Minh City, Vietnam Academy of music two academic backing, from the Sino Vietnamese cultural exchange in the example of a musical instrument biography plucked instruments as the starting point, strive to explore and analysis of influence of Chinese music culture circle of Vietnamese music, make up for China and Southeast Asian country music civilization exchange relevant research weak this blank. In addition to the introduction and conclusion, the full text is divided into six chapters. The purpose and significance of the topic of the report. The department emphasizes on all kinds of plucked string instrument rheological track research, through the research of the vastness of the scholars textual research, results quite abundant, department research results have reached consensus. However to Vietnam biography plucked string instrument in the history transformation, shape structure, after all, have what effect, in the Vietnamese national and East Asian countries are not detailed and systematic study. So this paper will also be a better understanding of the Chinese music industry, Vietnam music, the supply of some of their own and sponsorship. In the first chapter, Vietnamese famous music scholar Chen Wenxi taught in his doctoral thesis "Vietnam traditional music, Paris - 1962" (musique Vietnamienne Traditionnelle La. Paris, 1962) and the Vietnamese Pipa pour out, 2017) that with the 10th century pipa, Zheng, Yueqin, erhu and other spread to Vietnam. The is to Vietnam in Hebei Province Xianshan County Buddha trace Temple 1057 built the temple column on the beginning of the 11th century relief (a statue of relief, which has played the pipa, Yueqin, Zheng), which think pipa, Yueqin, Zheng no later than the 10th century have been crowding now Vietnam first and foremost, this paper under the support of a lot of evidence, especially through Vietnam, China's historical data that Qin, pipa, five string instruments are more able to is by Fu Beiguo (now South Vietnam) afferents Lin Yiguo (now central Vietnam area) further growth results in, while the incoming time late in the fifth century BC. The argument to subvert the Vietnam in order to Chen Wenxi teaching and the pipa, Zheng, Yueqin, erhu and other is in the tenth century A. D. you introduced to Vietnam for representing the existing widely indecent point. The second chapter, through analysis of the specific process, and points out that Chinese plucked string instruments and Vietnam biography plucked string instrument of the title and the shape of the relationship. The third chapter, shapes, measures and application places on playing stringed musical instrument of the biography of vietnam. Through introducing Vietnam all kinds of traditional drama and plain in music, peeking Vietnam biography plucked string instrument application in medium. The fourth chapter, this chapter emphasizes the Vietnamese sound cavity, scale, unique mode conversion is the cause of music characteristic of all categories of Vietnamese traditional music in the biography of plucked string instruments. The fifth chapter, "the field task" is a way of folk music, the most important. This chapter is the author in China, Taiwan, the north and south, in the South and other places on the instrument to stop the examination, the teachers and students of all kinds of musical instruments and professional interviews with artists. Chapter six, from differences in Vietnam Era social rail system, affect the civilization, plain near family aesthetic consciousness and speech characteristic to deeply discuss Vietnam biography plucked string instrument of the reasons for the formation and growth process. 目录: |
