摘要
关于中国竹笛的起源,历来许多专家、学者作了大量的研究和考证,但至今未能得到完全统一的结论。其原因是很清楚的:要弄清笛子的历史,不外乎是两条途径;一是历代史书经传的记载;二要依据地下发掘出来的古代文物。这两者之间相辅相成,相互印证。但是,自秦火以后,历代文献史料中关于笛子的记载实在是众说纷纭。笛、篪、箫、龠,常相混淆。后者往往因袭前者,以至以讹传讹,使今人莫衷一是,真伪难辨。从文物的考证来看,亦有其难;笛为竹质乐器,要在地下保存几千年而不至毁灭,原是极其困难的。
It has been a long time since scholars concerned themselves with the unknownable origines of the Chinese flutes. As their opinions vary widely, no decisions can be reached. The excavations both of a West Hart tomb (206 B.C.-A.D. 24), Mawangdui No. 3 and a Spring and Autume Period tomb (770-476 B.C.), Zheng Hou Ⅱ, furnish fresh evidences for the research of the Chinese bamboo flutes. These archeological finds give an eloquent proof that China had already had the seven-holed bamboo flutes, which were played transversely in the hands of the player two thousands years before, and this puts right the doctrine that bamboo flutes in ancient China were played vertically. The Chinese ancient flutes had had its shape as lately as the period of West Zhou (c. 11th-Century-771 B. C.). There had been another kind of ancient flute with only three holes. Actually, it is the one--called Hudi flute--brought back by Zhang Qian (?-114 B.C.) after his diplomatic missions in twice to the West Regions, a Han Dynasty term for the aera west of our country, including what is now Xingjang and parts of Central Asia. These tow differ from each other not only with theshape, but the way of playing as well. What we have in today's China is the combination of this two kinds of ancient flutes.
出处
《中国音乐》
1988年第1期32-36,93,共6页
Chinese Music
