摘要
扬琴有着极为广阔的天地,它不仅是中国——件民族乐器,还是阿拉伯人的重要乐器。在欧洲,它不仅有着光辉的历史,更有着令人鼓舞的今天,它吸引了包括李斯特、科达伊、巴托克、斯特拉文斯基和哈巴在内的一批近现代优秀作曲家,它的音乐汇入了欧洲近现代专业音乐的洪流中。就扬琴的分布广度和在各国、各地区音乐中的重要地位来说,它算得上是一个世界性的乐器了。但与钢琴、小提琴等所不同的是,各大地区的扬琴都处于建闭发展的状态,彼此没有交流往来,因此,没有形成统一的乐器,通用的曲目和共同的演奏风格。相反,它们分别与各地区、各民族的专业、民间音乐紧密结合在一起并由此得到发展。
In the three general families of this kind of instrument in the world, there are the European dulcimer, Chinese Yangqin and dulcimer in South Asia and West Asia to be their typical representatives. They make the sharp contrast among themselves, as the pitch, tone-position, arrengement and colour are concerned. Judging by their ways of being played, the Chinese Yangqin is used more as a key instrument, taking the action to harmonize the whole orchestra, than a melodic instrument only. The dulcimers in South Asia and West Asia, however, bear a little resemblence to the Chinese Yangqin in usage. Judging by the style of playing, the fundamental sound production pattern of all this kind of instrument is 'Point', it can make a 'Line' when it is played densely and continuously, and it is this 'Line' which leads to set up a glaring example of the Chinese Yangqin's style. The Chinese Yangqin also attaches importance to handling the lingering sounds and some of its skills, for example, sliding, rubbing and wiping, are unique to express the Chinese traditional custums of appreciating beauty. But the European dulcimer still gives the first place to 'Point'. During the time of the latest four decades, the music fabric of the Chinese Yangqin has already turned its singlesound pattern into the multi one, while the European dulcimer continues to remain unchanged. Judging by the style of ornament, the Chinese Yangqin is personalized with its simpleness and plainness, while the European dulcimer still with its complexness and gorgousness.
出处
《中国音乐》
1988年第1期21-23,94,共4页
Chinese Music
