古 琴 G u q i n ( 对 应 P P T ).docx

（数字为对应ppt的页数）3. Guqin, It is a plucked （弹拨）seven-string Chinese musical instrument with a history of more than 3000 years. The prefix gu- (meaning ancient) was later added for clarification. It can also be called qixianqin (lit. seven-stringed instrument). 古琴，又称中国七弦琴，为中国最古老的弹拨乐器之一, 有文字可考的历史有四千余年。4. It has been played since ancient times, and has traditionally been favored by as highlighted by the quote “a gentleman does not part with his qin or se without good reason,” as well as being associated with the ancient Chinese philosopher Confucius.（琴是中国古代文化地位最崇高的乐器，有“士无故不撤琴瑟”和“左琴右书”之说。位列四艺“琴棋书画”之首，被文人视为高雅的代表，亦为文人吟唱时的伴奏乐器，自古以来一直是许多文人必备的知识和必修的科目）5. 1. ConstructionEach part of the qin has meaning.According to tradition, the qin originally had five strings, representing the five elements of metal, wood, water, fire and earth. Later, Zhou Wen Wang added a sixth string to mourn（哀悼） his son。 Zhou WuWang, added a seventh string to motivate his troops into battle with the Shang. The thirteen hui（十三徽） on the surface represent the 13 months of the year (the extra 13th is the leap month in the lunar calendar). The surface board is round to represent Heaven and the bottom board flat to represent earth. The entire length of the qin (in Chinese measurements) is 3 chi, 6 cun and 5 fen representing the 365 days of the year (though this is just a standard since qins can be shorter or longer depending on the periods measurement standard or the makers preference). 6. seven strings 七弦 thirteen hui（十三徽）7.（ 琴一般长约三尺六寸五（约120125公分），象征一年三百六十五天（一说象周天365度）。一般宽约六寸（20公分左右）。一般厚约二寸（6公分左右）。琴体下部扁平，上部呈弧形凸起，分别象征天地,与古时的天圆地方之说相应和。整体形状依凤身形而制成，其全身与凤身相应（也可说与人身相应），有头、颈、肩、腰、尾、足。古琴最初只有五根弦，内合五行，金、木、水、火、土；外合五音，宫、商、角、徵、羽。后来文王囚于羑里，思念其子伯邑考，加弦一根，是为文弦；武王伐纣，加弦一根，是为武弦。合称文武七弦琴。“琴头”上部称为额。额下端镶有用以架弦的硬木，称为“岳山”，又称“临岳”，是琴的最高部分。琴底部有大小两个音槽，位于中部较大的称为“龙池”，位于尾部较小的称为“凤沼”。这叫上山下泽，又有龙有凤，象征天地万象。岳山边靠额一侧镶有一条硬木条，称为“承露”。上有七个“弦眼”，用以穿系琴弦。其下有七个用以调弦的“琴轸”。琴头的侧端，又有“凤眼”和“护轸”。自腰以下，称为“琴尾”。琴尾镶有刻有浅槽的硬木“龙龈”，用以架弦。龙龈两侧的边饰称为“冠角”，又称“焦尾”。）9. 2.Playing techniqueThe music of the qin can be categorised as three distinctively different “sounds” : san yin (散音), which means “scattered sounds; fan yin (泛音), or floating sounds“; an yin (按音), or stopped sounds. 古琴有泛音、散音和按音三种音色，泛音法天，散音法地，按音法人，分别象征天、地、人之和合.10. san yin (散音)： which means “scattered sounds.” This is produced by plucking the required string to sound an open note .空右手拨弦，左手无动作，可听到较长时间的余音。fan yin (泛音)：or “floating sounds.” These are harmonics, in which the player lightly touches the string with one or more fingers of the left hand at a position indicated by the hui dots, pluck and lift, creating a crisp and clear sound.用左手一指或多指正对徽位轻点琴弦，一触即起，同时右手拨弦，发出清越的琴音。an yin (按音)：or stopped sounds. This forms the bulk of most qin pieces and requires the player to press on a string with a finger or thumb of the left hand until it connects with the surface board, then pluck. Afterwards, the musicians hand often slides up and down, thereby modifying the pitch.左手将弦按在琴面上，右手拨弦出音；继而左手揉弦以产生吟音，或移向其他音位产生滑音。11.12. there are around 1,070 different finger techniques used for the qin, with or without names. It is therefore, the instrument with the most finger techniques in either Chinese or Western music. Most are obsolete, but around 50 or so are sufficient to know in modern practice.共有大约1070种有名或无名的指法，现代有50多种指法在演奏中常用。（演奏时，将琴置于桌上，右手拨弹琴弦、左手按弦取音。古琴技法甚多，古时有超过一千种，今常用指法仅几十种，例如右手的抹、挑、勾、剔、打、摘、擘、托（即“右手八法”）、轮、拨、剌、撮、锁、如一、滚、拂、双弹等，左手的上、下、进复、退复、吟、猱、罨、跪指、掏起、带起、爪起、撞等、牵、全扶、半扶、龊、间勾、转指、索铃等。）13. 3. Playing context： Traditionally, the qin was played in a quiet studio or room by oneself, or with a few friends; or played outdoors in places of outstanding natural beauty. 14.The guqin is nearly always used a solo instrument（独奏乐器）, as its quietness of tone means that it cannot compete with the sounds of most other instruments or an ensemble（合奏）. It can, however, be played together with a xiao（箫） (end-blown bamboo flute), with other qin, or played while singing. In old times, the se（瑟） (a long zither with movable bridges and 25 strings) was frequently used in duets（二重奏） with the qin. Sadly, the se has not survived. 图片无瑟15. Lately there has been a trend to use other instruments to accompany the qin, such as the xun（埙） (ceramic ocarina), pipa（琵琶） (four-stringed pear-shaped lute), dizi（笛子） (transverse bamboo flute), and others for more experimental purposes.（In order for an instrument to accompany the qin, its sound must be mellow and not overwhelm the qin. Thus, the xiao generally used for this purpose is one pitched in the key of F, known as qin xiao 琴簫, which is narrower than an ordinary xiao. If one sings to qin songs (which is rare nowadays) then one should not sing in an operatic or folk style as is common in China, but rather in a very low pitched and deep way; and the range in which one should sing should not exceed one and a half octaves. The style of singing is similar to that used to recite Tang poetry. To enjoy qin songs, one must learn to become accustomed to the eccentric style some players may sing their songs to, like in the case of Zha Fuxi.）16. （琴记谱法有文字谱、减字谱、简谱、五线谱和混合记谱。）in the Tang dynasty, Cao Rou and others simplified the wenzi pu (文字譜) (literally written notation), using only the important elements of the characters (like string number, plucking technique, hui number and which finger to stop the string) and combined them into one character notation. . This notation form was called jianzi pu (減字譜) (literally reduced notation)减字谱于晚唐出现，简化文字谱以提高效率。减字谱使用减笔字组合来记录琴曲的指法、弦序和徽位.17.（打谱是现代琴家按照减字谱把琴曲弹出的过程。由于减字谱并无节奏等音乐细节，因此打谱者需要反复记录修改，不断弹奏，并在此过程中揣摩原曲的气质和意境，最终使乐曲清晰流畅、结构完整。各个时期的打谱者有意追求琴曲的古风，同时又随自己的艺术趣味对原谱润色增删，因而同一首琴曲在不同时代会有不同的风貌，不同的审美倾向。）18. Stories about Guqin Guqin sometimes is referred to by Chinese as “the father of Chinese music” or “the instrument of the sages（先贤）. There are so many stories about it in Chinese history.19. According to Qin Shi, Liezi said:Bo Ya was good at playing the qin. Zhong Ziqi was good at to listening to the qin. When Bo Yas will was towards high mountains in his playing, Zhong Ziqi would say, How towering like Mount Tai! When Bo Yas will was towards flowing water in his playing, Zhong Ziqi would say, How vast are the rivers and oceans! Whatever Bo Ya thought of Ziqi would never fail to understand. Bo Ya said, Amazing! Your heart and mine are the same! When Ziqi died, Bo Ya broke the strings of his qin and vowed never to play the qin again. Thus, there was the melody of High Mountains Flowing Water.列子汤问：伯牙善鼓琴，钟子期善听。伯牙鼓琴志在高山，钟子期曰：“善哉，峨峨兮若泰山。”志在流水，钟子期曰：“善哉，洋洋兮若江河。” 伯牙所念，钟子期必得之。子期死，伯牙谓世再无知音，乃破琴绝弦，终身不复鼓。故有高山流水之音。20. Sima Xiangru（司马相如） was bor