再谈阮咸类琵琶源起——对“弦鼗说”的辩驳  

A Further Investigation on the Origin of Chinese Ruan-Xian Pipa--A Refutation of the"Xiantao-origin Theory"

作　　者：张寅 陈荃有[2] Zhang Yin;Chen Quanyou

机构地区：[1]温州大学音乐学院,温州325035 [2]中央音乐学院音乐学系,北京100031

出　　处：《音乐艺术(上海音乐学院学报)》2024年第6期4-16,共13页Art of Music(Journal of the Shanghai Conservatory of Music)

基　　金：2020年度国家社科基金艺术学重点项目“丝绸之路琉特类乐器研究”阶段性成果,项目批准号:20AD006。

摘　　要：“弦鼗”二字最初仅是杜挚对“盘圆柄直”琵琶类乐器外形特征的形象性描述,既非独立的弹拨乐器之名,也无琵琶前身之意,尚不能构成阮咸类琵琶源生起点的充分证据。将鼗鼓与阮咸类琵琶进行形制结构、发声机理、持琴姿态、激励方式、演奏者身份、用乐场域等基本属性比对,可以发现二者之间的相生进化关系并不存在。域外同类乐器的考古发现表明,西亚、中亚“盘圆柄直”的抱弹乐器早于中国,且呈现出以时间为序、由西向东渐次出现的清晰脉络;域外同类乐器在形制结构、演奏者身份等方面,同中国早期阮咸类琵琶有着极高的相似性。由此推断,中国阮咸类琵琶有可能是从西亚经中亚传来的,在丝绸之路各族群的共同作用下最终完善成型。The term"xiantao"was originally used by Du Zhi to describe the pipa with"round resonance box and straight neck."It is neither a specific name for a plucked string instrument,nor does it refer to the predecessor of the pipa,nor can it be regarded as sufficient evidence for the origin of the ruan-xian pipa.This paper compares tao drum with ruan-xian pipa in terms of shape,structure,sound production mechanism,holding posture,ways of performing,the identity of performers,and performance occasions,and demonstrates that there is no symbiotic evolutionary relationship between the two instruments.Archaeological research of similar musical instruments abroad has shown that the pipa with"round resonance box and straight neck"appeared earlier in West Asia and Central Asia than in China,and shown a clear route of spread from west to east in chronological order.In terms of shape,structure,and the identity of performers,those instruments share a great similarity with the early Chinese ruan-xian pipa.We can therefore deduce that the Chinese ruan-xian pipa was introduced from West Asia through Central Asia,and was finally improved by joint efforts of various ethnic groups along the Silk Road.

关 键 词：乐器起源 琵琶 阮咸 弦鼗 

分 类 号：J609.2[艺术—音乐]