摘要
随着外来输入乐器以及新兴乐器在本域文化圈交流传播的不断扩大与普及,外来乐器文化以及新兴乐器名称有趋于稳固、覆盖以及“潜移默化”的统一,此即在世界乐器文化范围内形成的乐器同名异实之迹象。“洋琴”传入中国后,其两种早期译介虽托为“洋琴”之同名,但却为“锐上宽下”、与“一小锤与琴面键盘相连”两种乐器之实。本文对“洋琴”的同名异实及传入的本土化衍变进行名实考辨,对“洋琴”同名之由在声学特征上的异同表现进行细微分析阐述,并对乐器的同名异实现象及造成同名异实的原由进行分析与总结。
With the continuous expansion and popularization of foreign imported musical instruments and new musical instruments in the local cultural circle,the foreign musical instrument culture and the newly decided names of musical instruments have tended to be stable,covering,achieving an"imperceptible"unity,witch are signs of the same names but different reality for musical instruments formed within the scope of the world’s musical instrument culture.After the introduction of the"yang qin"into China,although the two kind of early translations of"yang qin"took the same name as"yang qin",they were actually two kind of different musical instruments:"sharp upper and wide lower"(first kind)and"a small hammer connected to the keyboard on the surface"(second kind).This article makes a textual research on the same name but different reality of the"yang qin"and its localization evolution,analyzes and expounds the similarities and differences in acoustic characteristics of the cause of the"yang qin",and analyzes and summarizes the phenomenon and causes of same name but different reality of musical instruments.
出处
《南京艺术学院学报（音乐与表演版）》
北大核心
2022年第3期21-28,I0003,共9页
Journal of Nanjing Arts Institute:Music & Performance
基金
国家社会科学基金艺术学重大招标项目“跨门类艺术史学理论与方法研究”(项目编号:20ZD25)的阶段性成果。
关键词
洋琴
同名异实
声学特征
异同表现
族群类属
yang qin
same name and different reality
acoustic characteristics
similarities and differences
ethnic groups
