《溪山琴?zèng)r》與古箏藝術(shù)理論研究.pdf

1、分類(lèi)號(hào)UDClIIIIIIIIIIIIIIIIIIIY3432835埸H1大譬YANGZHOUUNIVERSITY學(xué)號(hào)叢15Q皇2Q密級(jí)——碩士學(xué)位論文(學(xué)術(shù)學(xué)位)《溪山琴?zèng)r》與古箏藝術(shù)理論研究劉穎申請(qǐng)學(xué)位級(jí)別：碩士論文提交日期：至Q!墨生三月2旦論文答辯曰期：2Q!墨生魚(yú)旦2旦學(xué)位授予單位：塹劌盤(pán)堂學(xué)位授予日期：2Q!墨生魚(yú)旦3Q旦答辯委員會(huì)主席：揚(yáng)氐鏖塾撞2018年6月II揚(yáng)州大學(xué)碩士學(xué)位論文AbstractGuqinandGuzh

2、efigareveryimportantintraditionalChinesemusicalinstrumentsTheyarequitesimilarBothofthemhavemanysimilaritiesintermsofplayingtechniques，shapesystem，theirrespectiveculturalconnotationsandtheiraestheticattributesAccordingtot

3、hehistoryofdevelopment，Guqinwascalled“Thehalidom，theFirstoftheEightSounds”inancienttimes，anditcangovernthetemperamentofthepersonandregulatetheperson’Sheart，mind，andspirittheupperclasswerealwaysgoodatitHoweverZhengispurel

4、yamongthefolkinstrumentalmusic，anditisdifficulttoachieveeleganceJudgingfromtherelevantliterature，QinhasbeenextremelyrichinhistoricalrecordsButcomparedwithQin，ZhengisquitepoorinhistoricalrecordsbutcomparedwithZheng，itlack

5、smuchItcanbeseenthatZhengisalittlebitthininculturecomparedtotheprofoundcultureofQinDuringthedevelopmentoftheguqin，“XiShanQinGe”wasagreatperformerintheancientdynastyQintheoryItcanbeseenthatZhengisalittlebitthinincultureco

6、mparedtotheprofoundcultureofQinDuringthedevelopmentoftheguqin，“XiShanQinGe’’wasagreatperformerintheancientdynastyQintheoryItnotonlyproposestwentyfourstatesforChinArt，suchasharmony，calm，claritydistance，ancientness，flatnes

7、s，gracefulness，easement，elegance，beauty，brightness，mien，cleanliness，smoothness，roundness，determination，magnificence，fineness，silkiness，vigor，lightness，heaviness，tardiness，andfastness，butalsocombinesperformanceaestheticst

8、hinkingintheorywiththesetwenty—fourstatesTheappearanceof”XiShanQinxi’’hasnotonlyinheritedanddevelopedthelyricalideasofancienttimes，butalsobasedonaesthetics，whichisalsoareferenceforthedevelopmentofcontemporaryinstrumental

9、performancesI’dliketousethetwentyfourconditionsproposedbyplayingskillsin”XiShanQinGe”asatheoreticalbasis，combinngmyownteachingandplayingexperienceandapplythemtotraditionalZhengperformancesIhopetousemyresearchonthe”XiShan

10、QinShi。’topromotethetheoreticalsystemofGuzhengperformingartsThemainstructureofthearticleiSasfollows：Thefirstchapter：Ingeneral，itoutlinesthe“XiShanQinKuang’’undertheinfluenceoftraditionalmusicaestheticsandfocusesonthecore