文档介绍：天津音乐学院
硕士学位论文
中国传统音乐美学思想对二胡演奏艺术的影响
姓名:马凌云
申请学位级别:硕士
专业:音乐学
指导教师:林聪
20071210
摘要
摘要
二胡演奏艺术经过几代人的发展和创新,无论是在技巧还是理论研究上都
水涨船高,取得了突出的成绩。然而,作为我国古老的民族弓弦乐器之一,它
更加讲求旋律美、韵味浓、意境深等审美意蕴和表现手法,这一点与我国传统
音乐的美学原则和审美标准是一脉相承的。因此,提高二胡演奏者重视音乐与
文化关系的程度,特别是重视传统音乐美学思想是尤为迫切和必要的。
在传统音乐美学理论方面,国内研究的相关资料较多,且有一定深度;在
二胡演奏艺术领域,阐述演奏技巧及分析研究具体作品的文章也有一定数量;
但将二者相结合的文章并不多见。笔者将中国传统音乐美学思想对于二胡演奏
艺术的影响作为论文研究的方向,仅以先秦时期道家的音乐美学思想和明清时
期重要琴论专著《溪山琴况》中的演奏美学思想为理论基础,将其与二胡演奏
艺术相结合,并通过《离骚》这首作品的实际演奏经验,来更加深刻的理解先
秦道家“大音希声”的美学思想及《溪山琴况》“和”对于演奏的意义,在演
奏与理论的结合过程中获得启示,从而拓宽演奏者的演奏思路,进一步提高其
技术技巧和艺术表现等方面的能力。

关键词:大音希声音与意合离骚

IV
Abstract
Abstract
Through the progress and innovation made by many artists during the past
several decades, both performing skills and theoretical system of Erhu performance
have been dramatically improved. As one of the traditional Chinese bow instruments,
Erhu is famous for its specific skills and aesthetics, which is in line with traditional
Chinese value and tastes. At this point, it is necessary to improve Erhu performers’
cultural background, especially traditional aesthetics.
There are many academic articles in traditional aesthetics. And enormous researches have
been done in Erhu performance skills. However, few bined traditional aesthetical
theories with performance skills. In this article, I will discuss the impact of traditional Chinese
aesthetics on Erhu performance skills. Particularly, I will focus on the Taoist aesthetics of Prior
Qin Dynasty and the master piece of Xi Shan Qin Kuang. And I will also explore the aesthetics in
Taoist ‘Da Yin Xi Sheng’ and the theory of ‘He’ in Xi Shan Qin Kuang based on my performance
practice. It is expected that this article will contribute to broadening Erhu performers’
understanding of traditional aesthetics and improving their performance skills.

Key words:DaYinXi bination of tunes and aesthetics Li Sao

V
天津音乐学院
学位论文原创性声明

本人郑重声明: 所呈交的学位论