【作者】 张婷婷；

【导师】 胡小满；

【作者基本信息】 河北师范大学 ， 音乐学， 2009， 硕士

【摘要】 筝乃我国古老的弹弦乐器之一。在漫长的历史变迁中,筝乐与各地的戏曲、说唱和其他民间音乐相融汇,逐渐形成了多种不同风格的流派。山东筝即是其中一个独具特色的派别。郓城筝乐作为山东筝派的一个重要组成部分,长期活跃于鲁西南农村,凭借其筝人的深远影响、筝器的古朴雅致、筝曲的悠远广袤,构成了山东筝中重要的艺术内核。近年来,筝界学者们对山东筝的研究,已取得相当丰厚的成果。基于郓城筝在山东筝乐中的主导地位和积极影响,它也一直为学术界所关注。然而,在各种阐述山东筝乐的研究“总论”中,郓城筝深厚的音乐艺象和文化特质,往往被漠视或轻视,不能得到应有的彰显。有鉴于此,笔者试图从“微观”的县域文化入手,对郓城筝乐进行深入、细致地研究。本文认为,郓城筝乐的发展主要经历了筝歌、合乐筝与独乐筝三个阶段。筝乐的构成主要有筝人、筝器、筝曲三个内容。笔者通过“双结构”的模式,一方面比较人、筝(器)、曲在不同阶段的发展特点,来研究郓城筝乐的纵向历程;另一方面研究在一个相对稳定的时间与空间内人、筝、曲的艺术内容与文化内涵。本研究主要建立在实地调查基础上,以郓城为主要立足点,以明清以后形成的筝乐为研究对象,分别从人、筝、曲及其相关视点,来探究郓城筝乐的历时性发展及转变,并对郓城筝乐作音乐和人文的阐释。全文分四个部分。在绪论中,主要简述郓城筝乐的研究情况和研究方法。笔者在文中首次提出独立的郓城筝概念,并主要运用时间上的历时性与空间上的共时性的研究方法来完成研究;第一章,借助于文献、传说,简要回顾郓城筝乐的发展轨迹;第二章,结合实地调查,从人、筝、曲三方面入手,进而派生出对人的分布、传承、技法,筝的形制、定调、工艺,曲的形式、板式、筝谱等内容的分析;第三章,于雅俗性和农耕文化两方面探讨筝乐的文化特质,特别强调了筝乐所蕴含的“俗中雅乐”的文化特性和传承中承担的农民精神娱乐的功能。更多还原

【Abstract】 Zheng is one of the oldest stringed instruments in China.Changes in the long history,the zheng music has gradually formed a variety of different styles of genre,integrated with opera around,singing and other folk music.Shandong Zheng is one of the unique factions.As an important component of Shandong zheng,Yuncheng Zheng constitutes an important center part of Shandong zheng,which actived in the rural Southwest of long-term,and had its far-reaching impact on people of zheng,simple elegance of zheng and a number of zheng music.In recent years,scholars of zheng have made very substantial results with studied in Shandong Zheng.With dominant position and a positive impact of Shandong Zheng, Yuncheng zheng has been of concern to the academic community.However,in a variety of research in Shandong Zheng as "General",Yuncheng Zheng that profound music arts and culture,are often ignored or belittled,and can not be demonstrated due.In view of this,I tried from "micro" approach of the county culture of Yuncheng Zheng to conduct in-depth and meticulous research.The article holds that the development of Yuncheng Zheng which is made of people, instrument and composition has experienced three stages,which contains zheng songs, Halcrow zheng and alone zheng.Music.I adopted the "dual structure" model.On the one hand,it is compared in the characteristics of different stages of development to study Yuncheng Zheng’s longitudinal course of people,instrument and composition;On the other hand,it is researched the art of music content and culture in a relatively stable period of times and spaces.The purpose of the study built on the basis of field surveys to the city,as the main point of Yuncheng after Ming and Qing Dynasty for the study.It is explored Yuncheng Zheng Diachronic development and changes,and for the interpretation of music and humanities from the people,instrument,composition and related point of view respectively.The full text is divided into four parts.In the introduction,it main described on the research situation and research methods of Yuncheng Zheng briefly.I was first introduced in the text independent concept of Yuncheng Zheng and the main use of time and lasted for a total space of time to complete the study of research methods;The first chapter,it reviewed the development path of Yuncheng Zheng briefly through the use of literature and legends. The second chapter,it combined with field surveys,from three aspects of the people, instrument and composition,which were derived for the distribution,transmission,techniques, form,set the tone,crafts,song forms,plates and score,etc;The third Chapter,it explored the cultural characteristics of zheng music from culture of farming and the elegance popular, which special emphasis on the zheng music behind "in popular gagaku" cultural identity and heritage of the farmers to assume the functions of the spirit of entertainment.更多还原