写作素材中华传统文化之传统乐器学习精品

1、一、介绍中国传统乐器古筝假如你是李华，你的英国笔友Peter对中国传统乐器很感兴趣，写信请你向他介绍一款中国传统乐器，请按以下提示给Peter写一封回信，介绍中国传统乐器一一古筝。1、 古筝是最古老的中国传统乐器之一，有 2500多年历史；2、 古筝是拨弦乐器，早期有 5根弦，发展至今有21-25 根弦；3、 古筝音色圆润清亮，音域宽广，有东方钢琴”的美称；4、随信附寄一张古筝乐曲光盘。注意：1、词数100 左右；2、可以适当增加细节，以使行文连贯；3、开头语和结束语已给岀，不计入总词数。参考词汇：the Chi nese Zither 古筝；plucked in strume nts 拨弦乐

2、器；stri ng 琴弦；son orous圆润低沉的；the Chin ese pia no东方钢琴【参考范文】Dear Peter,I have gladly received your letter telli ng me thatyou interested in traditi onalChinese musical instruments. Now,I de to tell you something about the ChineseZither, one of the most ancient Chinese musical instruments with a long hi

3、story of over 2500 years.The Chin ese Zither is a plucked in strume nt and is played with both han ds. In the early times it had 5 str in gs a nd has developed into 21 to 25 stri ngs up to now.The Chin ese Zither has a wide range and sono rous sou nd. As its play ing appearsand sou nds like play ing

4、 the pia no, the Chin ese Zither is sometimes called“ theChin ese pia no ”En closed with the letter is a CD of masterpieces of the Chin ese Zither. I hope you erljoy it.Best wishes!Yours,LiHua中国民族器乐的历史悠久，种类繁多。如，高亢悠扬的竹笛，轻快灵动的古筝，圆润浑厚的二胡这些凝聚了我们中华民族智慧的艺术如何被更多的人熟知、传承、发扬是我们所要思考的。二、中国乐器之琵琶Chi nese traditio

5、 nal in strume nt Pipa琵琶，是东亚传统弹拨乐器，已经有二千多年的历史。最早被称为琵琶”的乐器大约在中国秦朝岀现。琵琶”二字中的珏”意为二玉相碰，发岀悦耳碰击声”，表示这是一种以弹碰琴弦的方式发声的乐器。 比”指“琴弦等列” “巴”指这种乐器总是附着在演奏者身上，和琴瑟不接触人体相异。在唐朝以前，琵琶也是汉语里对所有鲁特琴族(又称琉特属)弹拨乐器的总称。中国琵琶更传到东亚其他地区，发展成现时的日本琵琶、朝鲜琵琶和越南琵琶。The pipa (pro noun ced pee-paa) is a four-stri nged lute, one of the oldestCh

6、in ese musical in strume nts with over 2019 years of history. The term pipacon sists of two Chin ese characters symboliz ing two play ing tech ni ques (knownas Ta n and Tiao today) while their pronun ciati ons pi and pa areimitati ons of the sou nds produced accord in gly. The latter fact is however

7、 notoften mentioned in the literatures about pipa.最早见于史载的是汉代刘熙释名释乐器：批比把本岀于胡中，马上所鼓也。推手前曰批，引手却曰把，象其鼓时，因以为名也。”意即批把是骑在马上弹奏的乐器，向前弹岀称做批，向后挑进称做把；根据它演奏的特点而命名为批把”。在古代，敲、击、弹、奏都称为鼓。当时的游牧人骑在马上好弹琵琶，因此为 马上所鼓也”。The historical development of the pipa has been a progressive process from itsvery beginning with few ma

8、jor fusions. The earliest Chinese written texts about the pipa dated back at least to the sec ond cen tury BC. For in sta nee, Xi Liu of the Eastern Han Dy nasty (25-220 AD) described in his book, The Definition of Terms - On Musical Instruments, that the name of the in strume nt pipa origi nally re

9、ferred to two fin ger tech ni ques. The two Chin ese characters pi and pa stood orig in ally for the two moveme nts, i.e. pluck ing the stri ngs forwards and backwards, respectively. It is com monly known now that the term pipa used ot be the gen eric n ame for all pluck-stri ng instruments of the a

10、ncient times. For instanee, in the Qin Dynasty (222-207 BC), there had bee n a kind of plucked-i nstrume nt, known as xia ntao, with a straight n eck and a round sou nd-body played horiz on tally, which is con sidered one of the predecessors of the pipa.阿拉伯的乌特琴到了公元五、六世纪随着中国与西域民族商业和文化交流的加强，从中亚地区传入一种曲

11、项琵琶当时称作 ”胡琵琶”。其形状为曲颈，梨形音箱，有四柱四弦，很像目前在阿拉伯国家常见的乌特 琴(Oud 或Ud)或古波斯的巴尔巴特琴(Barbat )。横抱琵琶用拨子演奏。现代的琵琶就是由这种曲项琵琶演变发展而来的。In the preface to his verse Ode to Pipa, Xua n Fu of the Jin Dy nasty (265-420AD) wrote: .the pipa appeared in the late Qin period. When the peoplesuffered from being forced to build the Gre

12、at Wall, they played theinstrument to express their resentment. By the Han Dynasty (206 BC -220 AD), the in strume nt developed into its form of four str in gs a nd twelve frets, plucked with fingernails and known as pipa or qin-pipa 1. In the Western Jin Dynasty (256-316), the qin-pipa was named af

13、ter the famous scholar, one of the seve n sages of the Bamboo Forest, Ruan Xia n, who was a great master on this in strume nt. (Note that Ji Kong, gra nd master of the seve n str in ged zither qin, was among the seve n sages who were frie nds and often met for music and wine). The instrument has bee

14、n to this day called the ruan whereas the name pipa specifically referred to a new version in the same family of i nstrume nts.Musicia ns in a sce ne from paradise, Yulin Cave 25, Tang Dyn astyA Sui Dyn asty (581 618)terracotta pipa-player in a suit of armor隋朝时候的弹琵琶的兵马俑到了唐代(公元7-9 世纪)琵琶的发展岀现了一个高峰。当时上

15、至宫廷乐队，下至民间演唱都少不了琵琶，随成为当时非常盛行的乐器，而且在乐队处于领奏地位。这种盛况在我国古代诗词中有大量的记载。例如唐代诗人白居易在他的著名诗篇琵琶行中非常形象地对琵琶演奏及其音响效 果这样的描述：大弦嘈嘈如急雨，小弦切切如私语。嘈嘈切切错杂弹，大珠小珠落玉盘”。唐代后期琵琶从演奏技法到制作构造上都得到了很大的发展。在演奏技法上最突岀的改革是由横抱 演奏变为竖抱演奏，由手指直接演奏取代了用拨子演奏。琵琶构造方面最明显的改变是由四个音位增至十六个（即四相十二品）。同时它的颈部加宽，下部共鸣箱由宽变窄，便于左手按下部音位。由于以上这俩项改革，琵琶演奏技法得到了空前的发展。据统计琵琶的

16、指法共有五六十种。归 纳起来，右手指法分两个系统：一、轮指系统，二、弹挑系统。左手指法也分两个系统：一、按指系统，二、推拉系统。The name p p aiis made up of two Chinese syllables, p（琵）and p （琶These, accord ing to the Han Dyn asty text by Liu Xi, refer to the way the instrument is played - p is to strike outward with the right hand, and pis to pluck in ward towar

17、ds the palm of the hand. The str ings were played using a large plectrum in the Tang Dyn asty, a tech ni que still used now for the Japa nese biwa. The plectrum was the n gradually replaced by the fin ger nails of the right hand, although fin ger-play ing tech ni ques existed as early as Tang.The mo

18、st basic tech ni que, tan tiao （彈挑 ）, i nvolves just the in dex fin ger andthumb （ta n is strik ing with the in dex fin ger, tiao with the thumb）. The fin gers no rmally strike the stri ngs of pipa in the opposite directi on to the way a guitar is usually played, i.e. the fin gers and thumb flick ou

19、tward, un like the guitar where the fin gers and thumb n ormally pluck in ward towards the palm of the hand. Pluck ing in the opposite directi on to tan and tiao are called mo （抹）and gou （ 勾）respectively. When two strings are plucked at the same time with the in dex fin ger and thumb （i.e. the fin g

20、er and thumb separate in one acti on）, it is called fen （分）,the reverse moti on is called zhi （摭）.A rapid strumwith four fin gers is called sao （掃）,and rapid strum ming in the reversedirecti on is called fu （拂）.A dist in ctive sou nd of pipa is the tremolo producedby the lunzhi （ 輪指）technique which

21、involves all the fingers and thumb of the right hand. It is however possible to produce the tremolo with just one or more fin gers.其中现今的日本琵琶（biwa ）至今沿袭的是唐代琵琶的大拨子演奏技法。下图为日本琵琶和拨子。The left hand tech ni ques are importa nt for the expressive ness of pipa music.Left-ha nd tech ni ques that produce vibrat

22、o, portame nto, glissa ndo, pizzicato, harmonics or artificial harmonics found in violin or guitar are also be found in pipa. Strin g-be nding for example may be used to produce a glissa ndo or portamento. Note however that the frets on all Chinese lutes are high so that the fin gers and stri ngs n

23、ever touch the fin gerboard in betwee n the frets, this is differe nt from many Western fretted in strume nts and allows for dramatic vibrato and other pitch cha nging effects to be produced by dow nward pressure to stretch the string, as with the Indian sitar, rather than a sideways acti on to bend

24、 the stri ng, as on a guitar.琵琶的左手技术是很重要的。左手技术产生的振音，滑音，滑音，在小提琴和吉他上可以做到的拨 奏，泛音和人工泛音也能被琵琶使用。中国乐器的琴弦和品相之间的距离普遍比西洋乐器高，造成 学习困难的同时，可以产生更多的技巧，比如推拉弦，手指可以在弦下方穿越，这在吉他和小提琴 上是做不到的。但因为琴弦永远也无法接触到指板，中国乐器就无法产生西洋乐器的戏剧化的颤音 和滑音，比如印度西塔琴可以做大范围的横向滑音。See ne from a Ming Dyn asty painting, Tao Gu Prese nts a Poem, c. 1515,b

25、y Tang Yi n.明朝唐伯虎画的画中出现了琵琶Pipa (Chi nese lute), wood, ivory, bone and silk, Mi ng dyn asty (1368-1644)明朝的琵琶，超级豪华直至公元十五世纪左右，琵琶已拥有一批以十面埋伏和霸王卸甲为代表的武曲以及以月儿高思春和昭君怨等为代表的文曲。所谓武曲，其特点是以写实和运用右手技法为主； 所谓文曲，其特点是以抒情和运用左手技法为主。这些乐曲已经成为中华民族音乐的瑰宝、琵琶艺 术的珍品。琵琶传统上是五声音阶。到了民国时期，已开始按照十二平均律增加琴码，目前标准的琵琶已有八相三十品，琵琶表现力和适应力大大加强，

26、不仅可以演奏传统乐曲，而且可以演奏西 洋和现代作品，并且有利于与交响乐队合作。为后来的进一步发展创造了条件。到了公元二十世纪中后期，琵琶艺术又有了新的发展，在琵琶制作方面，原来用的丝质弦改成了尼龙钢丝弦，有的 甚至采用银弦，加大了琵琶音量和共鸣。在技法上左手大拇指以及和弦的运用使琵琶的表现力再次大大提高。由此涌现岀一大批融传统音乐和现代作曲理论为一体的优秀的独奏作品，而且还岀现了与各种乐器的重奏以及与小乐队和交响乐队的琵琶协奏曲。到了二十一世纪琵琶不仅在中国呈现岀回复盛唐时期的景象，而且越来越受到世界各国音乐爱好者的关注。不少传统乐曲和当代作品 受到中外听众喜爱。下图为世界闻名的琵琶名曲 中英

27、文名字。Traditional neseChi SimplifiedChinesePinyinEnglish (translation)十面埋伏十面埋伏Shi Mi an Mai f uAmbushedfromTen Sides夕陽簫鼓夕阳箫鼓Xi yd ng Xi aoGuFluteand Drumat Sunset陽春白雪阳春白雪Y d ngchuIBn1 XUWhiteghtSnow inSpringSunli1DragonBoat龍船龙船L o ngchu n d彝族舞曲Danceof the YiPeople彝族舞曲Y z u Wu q u大浪淘沙大浪淘沙Da l ang Td oS

28、haBig Waves Pushing the Sand昭君岀塞昭君岀塞Zha oj un ChuSaiZhaojunOutsidethe Frontier霸王卸甲霸王卸甲Ba wa ngXi e Ji aThe WarlordArmourTakes Off His綠腰绿腰Lu y aoGreen Waist春江花月夜春江花月夜Ch u nji u e y eaHuga YMoonlitRiverin Spring现代的琵琶多半没有以前的琵琶那么漂亮，但m功能比较完善，演奏音域宽广，可以挑战更高技巧和表现力。琵琶作为中国传统乐器中演奏难度最高的乐器，有着民族乐器之王”的称号，学习它也必须趁早。附：中国古代十大乐器1、鼓在远古时期，鼓被尊奉为通天的，主要是作为祭祀的器具；在狩猎征战活动中，鼓都被广 泛地应用。鼓作为乐器是从周代开始，周代有八音，鼓是群音的首领，古文献所谓鼓琴瑟就是琴瑟开弹之前，先有鼓声作为引导。鼓的文化内涵博大而精深，雄壮的鼓声紧紧伴随着人 类，远古的蛮荒一步步走向文明。2、笙 笙清笙，是源自中国的簧管乐器，是