點音成樂－中國揚琴與匈牙利欽巴隆發聲與基本練習之比較
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2018
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匈牙利欽巴隆 (Hungarian Cimbalom) 及中國揚琴皆為異域傳入的小型擊弦樂器，十六世紀欽巴隆融入於人們生活中的鄉村舞蹈音樂；中國揚琴於十七世紀從戲曲後場音樂發跡。由於對於樂器性能更高的期望，兩地指標性的樂器改革為－1874年匈牙利桑達・文采爾・約瑟夫 (Schunda Vencel Jósef) 為其增設止音踏板；1964年中國楊競明研發四排琴橋揚琴，兩者皆擴充音域、增加音響效果，使之躍升為舞台上閃爍光芒的民族樂器。
本篇論文針對中國揚琴及匈牙利欽巴隆在兩個音樂文化中歷經樂器改革後的型制構造，參照物理學家赫爾曼・馮・亥姆霍茲 (Hermann L. F. Helmholtz M.D.) 發表之聲波原理、聲響之形成、探討豐富而細膩且微妙之揚琴音色，並以自身習琴經歷紀錄並比較學院派演奏家的擊弦方式及基本練習。兩者比較結果如下：
中國揚琴琴弦較纖細、琴橋與共鳴箱之體積較小；在高音區的單一音位配置四至五條弦、中音區一音三至四弦、低音區一音二弦；在演奏工具上，以竹製琴竹包覆以橡膠製作的琴皮為主；琴竹的質量較小，演奏者以高幅度的手腕揮動提升對琴竹施予加速度的空間，以獲得更大的演奏音量。在雙手的演奏運用上，多以左手演奏上聲部，敲奏順序以右手開始起竹的「右竹法」原則為主。
匈牙利欽巴隆琴弦較粗、琴橋與共鳴箱體積較大；高音及中音皆為一音四弦，低音區則以一音三弦為主；其演奏工具琴槌上的棉花緩衝力大，琴槌質量較大，使演奏者以小幅度的手腕揮動及手指控制便能得到相當之音量。敲奏同側琴橋之音位時，以鄰近琴橋之手演奏上聲部，並規劃琴槌最小移動距離進行演奏。
綜合上述樂器構造之琴弦直徑、琴橋體積、共鳴箱體積、琴弦配置以及觸弦材料的特性，使得中國揚琴相對於匈牙利欽巴隆的整體音量較小、中高頻的聲響比重偏高；匈牙利欽巴隆整體音量較大、低頻聲響比重偏高。當兩者彈奏相同音高時，中國揚琴琴竹搭配琴皮所敲奏的樂音泛音數量相對偏高；匈牙利欽巴隆以琴槌包覆棉花敲奏後產生的泛音相對數量偏低。
彈奏中國揚琴及匈牙利欽巴隆時，首先面臨的是擊弦位置的準確度、雙手力度的平衡、擊弦速度的提升、高音區及低音區音色的控制，以上基本技巧的掌握，直接影響了提升演奏水準的可能，需要不斷檢視修正以維持高度準確性。
為克服演奏技術的障礙，中國揚琴演奏家許學東建議每天練習一個小時的基本練習才進入樂曲彈奏；海倫莎・維多莉亞的教學則是一開始只教導基本練習，隨著學生程度提升增加練習項目，待學生練習至對音位具有相當之熟悉程度且充分掌握演奏技巧才教授樂曲演奏。二位嚴謹規劃之基本練習得以看到練習順序的重要性。除此之外，基本練習專注於技巧而缺乏音樂性，持續練習需要相當堅定之意志，也證明了良善之練習方法以及持續不間斷的練習是成為優良演奏家之不二法門。
The Hungarian Cimbalom and the Chinese Yangqin both were small, percussive instruments introduced in the exotic. In the 16th century, Cimbalom was used in the folk dance music. In the 17th century, Chinese Yangqin was accompaniment in traditional opeara music. Two instrument were reform－In 1874, Schunda Vencel Jósef added a pedal. In 1964, China’s Yang Jingming (楊競明) developed four bridge Yangqin, both of them expand the sound range, increase sound resources, and make it to be the national musical instrument. This thesis set to study of the Chinese Yangqin and Hungarian Cimbalom after the reform, with reference of the physicist Hermann L.F. Helmholtz MD. Exploring the rich, delicate timber with multiple influences such as musical instrument construction. It also recorded the performance tools and basic training of the specific academic performers. The comparison results are as follows: The Chinese Yangqin strings are thinner, the bridge and the resonance box are smaller. In the treble region, a single tone contains four to five strings. In the mediant region, a single tone contains three to four strings. In the bass region, a single tone contains two strings. The sticks are cover with the elastic rubber. The mass of stick is relatively low. Therefore, the player raise the wrist higher to increase the momentum. In the case of two tones, most of the upper parts are played by the left hand, and play with the principle that the right hand starts. The Hungarian Cimbalom has a thicker string, larger bridge and resonance box. In the treble and median region, a single tone contains four to five strings. In the bass region, a single tone contains three strings. The cotton winding on the hammer, increase gradually in velocity during the contact of the string, the force of the higher upper partial tones is correspondingly decreased. The Hungarian Cimbalom's hammer have high mass, allowing the player to get a considerable volume with a small wrist raising. In the case of two tones, performer play the upper part with the hand near the side of the bridge, and manage the minimum moving distance of the hammer. When playing the Chinese Yangqin and the Hungarian Cimbalom, the first thing is to keep the accuracy of the striking place, the balance of the hands, and then increase the striking speed. It is necessary to practice long-term with concentration, meanwhile constantly check the correction to maintain accurate. To overcome the difficulties of technique. Chinese Yangqin performer Xu Xuedong (許學東) recommends practicing an hour of basic training before practicing a piece of music every day. Hungarian Cimbalom performer Heréncsar Viktória teach basic training at the beginning, after student had mastered the playing skills, he/she could start to play some piece of music. The basic training of two performer can see the importance of the practice sequence.
The Hungarian Cimbalom and the Chinese Yangqin both were small, percussive instruments introduced in the exotic. In the 16th century, Cimbalom was used in the folk dance music. In the 17th century, Chinese Yangqin was accompaniment in traditional opeara music. Two instrument were reform－In 1874, Schunda Vencel Jósef added a pedal. In 1964, China’s Yang Jingming (楊競明) developed four bridge Yangqin, both of them expand the sound range, increase sound resources, and make it to be the national musical instrument. This thesis set to study of the Chinese Yangqin and Hungarian Cimbalom after the reform, with reference of the physicist Hermann L.F. Helmholtz MD. Exploring the rich, delicate timber with multiple influences such as musical instrument construction. It also recorded the performance tools and basic training of the specific academic performers. The comparison results are as follows: The Chinese Yangqin strings are thinner, the bridge and the resonance box are smaller. In the treble region, a single tone contains four to five strings. In the mediant region, a single tone contains three to four strings. In the bass region, a single tone contains two strings. The sticks are cover with the elastic rubber. The mass of stick is relatively low. Therefore, the player raise the wrist higher to increase the momentum. In the case of two tones, most of the upper parts are played by the left hand, and play with the principle that the right hand starts. The Hungarian Cimbalom has a thicker string, larger bridge and resonance box. In the treble and median region, a single tone contains four to five strings. In the bass region, a single tone contains three strings. The cotton winding on the hammer, increase gradually in velocity during the contact of the string, the force of the higher upper partial tones is correspondingly decreased. The Hungarian Cimbalom's hammer have high mass, allowing the player to get a considerable volume with a small wrist raising. In the case of two tones, performer play the upper part with the hand near the side of the bridge, and manage the minimum moving distance of the hammer. When playing the Chinese Yangqin and the Hungarian Cimbalom, the first thing is to keep the accuracy of the striking place, the balance of the hands, and then increase the striking speed. It is necessary to practice long-term with concentration, meanwhile constantly check the correction to maintain accurate. To overcome the difficulties of technique. Chinese Yangqin performer Xu Xuedong (許學東) recommends practicing an hour of basic training before practicing a piece of music every day. Hungarian Cimbalom performer Heréncsar Viktória teach basic training at the beginning, after student had mastered the playing skills, he/she could start to play some piece of music. The basic training of two performer can see the importance of the practice sequence.
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中國揚琴, 匈牙利欽巴隆, 發聲, 基本練習, Chinese Yangqin, Hungarian Cimbalom, Sound Production, Basic training