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口簧作为一种盛行于三代的乐器,见于《国风》和《小雅》,堪称风雅之音。由于《诗经》的基本文化属性是以音乐为母体的歌诗,因此,我们对其中的每首歌诗或者说乐诗的观察,都离不开音乐以及产生音乐的媒介——人和人所操作的乐器。本文通过追溯我国的口簧艺术史,从口簧的演奏技法及其作为原始乐器的一以贯之的文化功能出发,结合其目前在我国少数民族地区的文化遗存,对《诗经》中的三首涉及鼓簧艺术的歌诗重新进行阐释,以期恢复其思想旨趣和艺术特色之本真,并由此进一步彰显这部古老的歌诗选集在诗学、音乐学、民族学、文化学、民俗学乃至历史学等多方面的重要价值。
Spring as a popular instrument in the three generations, found in the “Guofeng” and “Xiaoya”, called elegant voice. Since the basic cultural attributes of The Book of Songs are song poems based on music, we can not do without the music and the medium that produces music - people and people Operating instrument. This article traces the history of the art of spring music in our country, starting from the playing technique of the spring and its consistent cultural function as the original instrument, combining with the cultural relics currently present in the ethnic minority areas in our country, The song of spring art is reinterpreted with a view to restoring the essence of his thoughts and artistic features. This further demonstrates that this ancient anthology of poetry is of great significance in poetry, musicology, ethnology, culture, folklore and even History and many other important values.