民族樂器阮咸的發展、再造與省思

dc.contributor 黃均人 zh_TW
dc.contributor.author 曾薇伊 zh_TW
dc.contributor.author Tseng Wei Yi en_US
dc.date.accessioned 2019-09-05T11:57:11Z
dc.date.available 2011-6-30
dc.date.available 2019-09-05T11:57:11Z
dc.date.issued 2009
dc.description.abstract 民族樂器「阮咸」具有特殊的發展歷程。自漢至唐,它先以「琵琶」之名被記載於文獻中,後卻將此名拱手讓給由西域入傳的「琵琶」而改稱「阮咸」,對後代史家而言,此一階段的歷史仍是具有眾多謎團未解的一段。阮咸歷經名稱與形制的改換,更在唐代與明清時期入傳鄰國,留下曾經輝煌一時的証明,但在中國本土卻逐漸沒落。新中國建立後,大同樂會的樂器改革計畫賦予阮咸新生,早期在樂團中的作用雖限於增添音響,但從此它在現代國樂的發展中佔有一席重要地位。 隨著國民政府播遷來台的影響,連帶將國樂文化移入台灣,並建立起一套體制,許多民族樂器得以在新環境中拓展自我市場。但阮咸發展初期並不若其他民族樂器來得順利,原因在於各面向無法銜接,如教育制度在招生上的限制,導致阮咸專業演奏人才的短缺,連帶影響演奏技巧在設計上的侷限,於是在專業與非專業領域下受到矛盾的對待,以致刻板印象的產生,造成其形象模糊;在知名度低落的情況下,其存在與定位一度受到衝擊與懷疑,減緩了阮咸的發展速度。 在各方努力下,今日阮咸的地位已有所改換與提升,專業人才的培育與學習人口的增長營造了充實的展演活動,亦顯示了阮咸發展的榮景,但專業與非專業的認知差距依舊存在,社會中對於阮咸的陌生感也未如預期般消失。本文希冀透過探討阮咸的發展歷史、音樂表現與現今在台灣的發展概況等面向,為阮咸發展的面貌做一番見證,除了建立其專業形象與價值,提升其學術地位外,還企圖將樂器本身的定位與優、劣勢釐清,做為思考未來推廣阮咸永續發展的最佳基礎。 zh_TW
dc.description.abstract “Ruǎn” is a kind of instrument in Han nationality and has particular developed process. It had named “Pipa” in ancient literatures, but gave the name to Lute from central Asia and changes its name to “Ruǎn” during Han to Tan dynasty. This historical process had many arduous problems for historians. “Ruǎn” had change its name and configuration, and ever disseminated to neighbor countries in Tan and Ming, even Ching dynasty. It had ever glorious but get disregard of mainland China gradually. After 1911, the new politic system in China was established, and the planning of instruments reforms from Da-tong music association had gave newborns to Ruǎn. In early Chinese orchestra, Ruǎn increased some acoustics merely; but it was important for the development of modern Chinese music. Many Chinese instruments had craved out a new market in Taiwan. It resulted from the R.O.C. government removed to Taiwan and brings the culture of Chinese music. Nevertheless, Ruǎn’s development was not successful at first time, because it couldn’t connect with each aspect smoothly. For example, the problems of education system make lack of professional players of Ruǎn. Moreover, makes the limits of its playing techniques. This phenomenon resulted Ruǎn in the domains of professional and amateur became a contradiction status and produced some mechanical impression to lead its status indistinctively. In this state, the development of Ruǎn becomes tardy. Nowadays, the status of Ruǎn has changed and enhanced result in each aspect’s effort. The cultivation and studying of professional player makes the performance activity substantial, but the difference between the cognitions of professional and amateur are still existence. The unfamiliar with Ruǎn in our society is disappeared yet until nowadays. This master thesis will make a study through the difference aspect of Ruǎn, for example historical process, musical phenomenon, and its development in Taiwan. Making the witness of development of Ruǎn, also establish its values of academic and professional status. Finally, though the recognized of Ruǎn as its pros and cons, to thinking of the future of Ruǎn’s business continuity, and become the basis of its development. en_US
dc.description.sponsorship 民族音樂研究所 zh_TW
dc.identifier GN0696910069
dc.identifier.uri http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0696910069%22.&%22.id.&
dc.identifier.uri http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/107086
dc.language 中文
dc.subject 阮咸 zh_TW
dc.subject 刻板印象 zh_TW
dc.subject 發展 zh_TW
dc.subject 再造 zh_TW
dc.subject 省思 zh_TW
dc.title 民族樂器阮咸的發展、再造與省思 zh_TW
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