中国蒙古三弦的地方传统及其传承形态  

The Local Tradition and the Inheritance and Form of Mongolian Three-stringed Instrument in China

作　　者：博特乐图[1] 石田立[1] 

机构地区：[1]内蒙古大学艺术学院音乐系,内蒙古呼和浩特010010

出　　处：《内蒙古大学艺术学院学报》2012年第4期5-12,共8页Journal of Art College of Inner Mongolia University

基　　金：2011年度国家社科基金艺术学青年项目"社会转型与蒙古音乐生活的变迁"阶段性成果(项目编号11CD099);内蒙古大学"蒙古族传统音乐研究"学术创新团队资助研究

摘　　要：中国境内蒙古地区蒙古三弦艺术有科尔沁、锡林郭勒—察哈尔、鄂尔多斯三种地方性风格。蒙古三弦的传承形式主要有两种:一是作为合奏乐器,是东蒙合奏、阿斯尔、鄂尔多斯乃日等乐种中的主要乐器;二是作为伴奏乐器,在东蒙、鄂尔多斯、察哈尔等地区,三弦广泛用于民歌的伴奏,并与特定的地方性歌种、器乐形成了共生关系。而蒙古三弦艺术的研究一方面需要从"共性中找差异",尤其与汉族三弦进行比较研究;另一方面则需要从"整体中找个别",将其放置在"蒙古族合奏乐"这一整体中进行全方位观照。Mongolian three - stringed instrument in China have three local styles respectively of Horchin, Xilingao - Cha- har, Ordos. Mongol three - stringed instrument basically has two kinds of heritage forms ： one is as a tutti instrument, the main instrument used in East Inner Mongolia tutti, asar and Ordos Nair; The other is as accompaniment instrument, used in East Mon- golia, Ordos, Chahar, etc. They are widely used in folk songs accompaniment, and formed a symbiotic relationship with specific local song, instrumental music. And for the research on Mongol three - stringed instrument art on the one hand, we need to find difference from similarity ＂, especially compare it to the Han nationality three - stringed instrument; On the other hand, we need to find individual from the whole, to place it in the whole background of ＂Mongolian tutti＂.

关 键 词：中国 蒙古族三弦 地方风格 传承 

分 类 号：J632.34[艺术—音乐]