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扬琴在我国民族乐器中算是比较“年轻”的一种。它在性能方面的日臻完善、技巧方面的逐步成套只不过是解放以后的事,特别是从六十年代开始才有了长足的发展。我们伟大的祖国地域辽阔,民族众多,又有悠久的文化遗产。在这一得天独厚的特定环境中,从东到西、从南到北广泛流传着不同风格、不同流派的扬琴技法:陕西方面细腻,以颤竹、滑竹、揉弦见著;四川方面气质豪放,浪竹独具一格;北京、天津方面织体丰富;新疆方面热情奔放;广东方面华丽流畅;江南方面优美如歌……。扬琴用于“自打自唱”、“合伙同唱”的时代已经过去。
Dulcimer in our national musical instrument can be considered more “young” kind. Its perfection in performance and its gradual improvement in skill are only things after liberation, especially since the 1960s. Our great motherland has a vast territory, numerous ethnic groups and a long cultural heritage. In this unique and unique environment, from east to west, widely spread from south to north of different styles, different genres of dulcimer techniques: Shaanxi delicate, with trembling bamboo, bamboo slough, rubbing string; Sichuan temperament arrogant, Unique style of the waves; Beijing, Tianjin, rich in weaving; Xinjiang enthusiasm unrestrained; gorgeous smooth in Guangdong; Jiangnan area beautiful song ....... Dulcimer for “self-singing”, “partnership singing” era has passed.