客家筝乐艺术风格成因分析.pdfVIP

目 录 绪 言··································································································1 第一章:客家筝派的艺术风格······································································2 一、曲体结构·······················································································2 二、调式特点·······················································································5 三、演奏技法·······················································································8 第二章:客家筝乐风格形成的外在因素························································10 一、客家移民历史对客家筝乐风格的影响·················································10 二、地理居住环境对客家筝乐风格影响····················································12 错误!链接无效。第三章:客家筝乐风格形成的内在因素··································17 一、广东汉乐与客家筝·········································································17 错误!链接无效。错误!链接无效。结论·······················································22 参考文献·····························································································23 致谢···································································································25 绪 言 古筝是一件有着悠久历史的乐器，是以音响效果命名的乐器，同时也是八音中的 一种。历史上最早记载筝的文献是汉代史学家司马迁的《史记》：“夫击翁、扣缶、弹 筝、搏髀而欢呼呜呜快耳目者，真秦之声。”筝乐艺术在其漫长的流传、发展过程中， 与其各地的地方性语言、风俗以及民间音乐相融合，逐渐形成了山东、河南、陕西、 潮州、客家、浙江等具有不同地域特色的几大流派。各个流派也都形成了其独特的艺 术风格。 客家 （或称“客家人”）是由于在中国历史上进行移民运动的所产生的民系，其 先民是发祥于我国中原地区的华夏民族。客家音乐文化是我国中原文化的传承和积 淀，是中原文化、荆楚文化、吴越文化和岭南文化等的交汇、融合与流变，所以他既 具有南方山乡特色又饱含中原音韵。客家筝乐就是在这样的音乐文化土壤中孕育出的 美丽花朵。 传统客家筝所用的是钢丝弦制的十六弦筝，音域有三个八度，从大字组sol 到小 字二组的 sol 。传统汉乐是用工尺谱记谱，在“调骨”的基础上进行各种加花、减字 等变奏技巧，使旋律在音高、节奏等方面得到充分的补充和发展。客家筝曲的曲体结 构主要有“大调”、“串调”两大类。调式音阶分“硬线”和“软线”与“反线”。客 家筝有其独特的演奏技法。筝曲以古朴淡雅、清秀委婉的艺术风格而著称。这种艺术 风格的形成，与其历史的变迁、客家人所居住的地理环境、以及和他相关的姐妹艺术 学科与客家筝人都有着紧密的关联。 1 第一章：客家筝派的艺术风格 一、曲体结构 客家筝曲的曲体结构有“大调”、“串调”两大