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簡介

胡(hu)琴，又稱鄉胡(hu)、稽(ji)(同奚)琴。歷史悠久、形制古樸。發音柔美，音色動聽。可用(yong)于(yu)獨奏、合奏或為歌舞伴奏。流行(xing)于(yu)遼寧、吉林(lin)、黑龍江等省，尤以吉林(lin)省延邊朝(chao)鮮(xian)族自治州盛行(xing)。流行(xing)于(yu)吉林(lin)省延邊朝(chao)鮮(xian)族自治州。 唐宋(song)時期的(de)胡(hu)琴曾(ceng)傳入朝(chao)鮮(xian)。朝(chao)鮮(xian)成(cheng)伣編《樂學(xue)軌范(fan)》（有(you)1494年序）載(zai)：“……以黜檀花木（刮(gua)青皮）或烏竹(zhu)(zhu)海竹(zhu)(zhu)弓(gong)馬尾(wei)弦，用(yong)松脂軋(ya)之。按用(yong)左手(shou)，軋(ya)用(yong)右手(shou)，只奏鄉樂”。

現代(dai)胡(hu)琴(qin)(qin)，全長60厘米。琴(qin)(qin)筒木(mu)或竹制，有(you)(you)半圓球形和(he)長筒形兩(liang)(liang)種(zhong)。前口蒙桐木(mu)薄板。琴(qin)(qin)桿木(mu)制，琴(qin)(qin)頭呈彎(wan)月狀、無飾，兩(liang)(liang)軸置于(yu)琴(qin)(qin)桿上部(bu)右(you)側、與(yu)琴(qin)(qin)筒呈平行，軸頂旋成(cheng)葫蘆形。張兩(liang)(liang)條絲弦(xian)(xian)(xian)或鋼(gang)絲弦(xian)(xian)(xian)。五(wu)度定(ding)弦(xian)(xian)(xian)A、e，音域 A—a1。 遠在(zai)古代(dai)，中原(yuan)的(de)漢(han)族(zu)人(ren)(ren)民，把(ba)居住(zhu)在(zai)北方(fang)和(he)西(xi)北方(fang)的(de)少數民族(zu)統稱(cheng)為(wei)胡(hu)，對他們所(suo)用(yong)的(de)樂(le)(le)器(qi)、音樂(le)(le)以及服飾等(deng)，也都冠以胡(hu)字(zi)。《后漢(han)書·五(wu)行志(zhi)》中有(you)(you)：“靈帝好胡(hu)服、……胡(hu)箜(kong)篌、胡(hu)笛、胡(hu)舞，……”。漢(han)劉熙《釋名(ming)》載：“批(pi)把(ba)本出(chu)(chu)于(yu)胡(hu)中”之(zhi)(zhi)(zhi)句，琵琶(pa)以出(chu)(chu)胡(hu)中，而名(ming)胡(hu)琴(qin)(qin)。唐初四川(chuan)射(she)洪大詩人(ren)(ren)陳子昂，曾(ceng)以千金(jin)買(mai)一(yi)胡(hu)琴(qin)(qin)，即是琵琶(pa)，直至唐宋之(zhi)(zhi)(zhi)時(shi)，對琵琶(pa)、忽雷等(deng)彈(dan)弦(xian)(xian)(xian)樂(le)(le)器(qi)，還(huan)稱(cheng)之(zhi)(zhi)(zhi)為(wei)胡(hu)琴(qin)(qin)。 胡(hu)琴(qin)(qin)是中國(guo)古代(dai)北方(fang)、西(xi)北方(fang)少數民族(zu)所(suo)用(yong)樂(le)(le)器(qi)的(de)統稱(cheng)，近代(dai)才(cai)作為(wei)胡(hu)琴(qin)(qin)類(lei)拉弦(xian)(xian)(xian)樂(le)(le)器(qi)的(de)專(zhuan)稱(cheng)。胡(hu)琴(qin)(qin)始于(yu)唐代(dai)。在(zai)宋代(dai)音樂(le)(le)理論家陳旸于(yu)公元1099年(nian)所(suo)著(zhu)的(de)《樂(le)(le)書》(卷一(yi)二八)中載有(you)(you)：“胡(hu)琴(qin)(qin)本胡(hu)樂(le)(le)也，出(chu)(chu)于(yu)弦(xian)(xian)(xian)鼗而形亦類(lei)焉(yan)，奚(xi)(xi)(xi)部(bu)所(suo)好之(zhi)(zhi)(zhi)樂(le)(le)也。蓋(gai)其制，兩(liang)(liang)弦(xian)(xian)(xian)間(jian)以竹片軋之(zhi)(zhi)(zhi)，至今(jin)民間(jian)用(yong)焉(yan)。”據書中所(suo)示(shi)，兩(liang)(liang)弦(xian)(xian)(xian)軸的(de)裝置方(fang)向與(yu)今(jin)日二胡(hu)相反，不用(yong)千斤。奚(xi)(xi)(xi)族(zu)在(zai)南北朝(chao)時(shi)稱(cheng)庫莫奚(xi)(xi)(xi)，居住(zhu)在(zai)我(wo)國(guo)東(dong)北地(di)區(qu)的(de)西(xi)拉木(mu)倫(lun)河流(liu)域，唐末之(zhi)(zhi)(zhi)時(shi)，一(yi)部(bu)分奚(xi)(xi)(xi)人(ren)(ren)西(xi)徙媯州(今(jin)河北省懷來縣(xian))，別稱(cheng)西(xi)奚(xi)(xi)(xi)，五(wu)代(dai)十國(guo)時(shi)，東(dong)、西(xi)奚(xi)(xi)(xi)漸與(yu)契丹人(ren)(ren)相融合。據陳旸所(suo)考，胡(hu)琴(qin)(qin)當為(wei)唐代(dai)末年(nian)我(wo)國(guo)北方(fang)西(xi)奚(xi)(xi)(xi)所(suo)用(yong)的(de)一(yi)種(zhong)樂(le)(le)器(qi)。它是在(zai)古代(dai)彈(dan)弦(xian)(xian)(xian)樂(le)(le)器(qi)弦(xian)(xian)(xian)鼗的(de)基礎上衍變發展而成(cheng)的(de)，其演奏方(fang)法與(yu)軋箏相似，完全是受到(dao)唐初漢(han)族(zu)軋箏的(de)影(ying)響所(suo)致，不同之(zhi)(zhi)(zhi)處(chu)是胡(hu)琴(qin)(qin)只有(you)(you)兩(liang)(liang)條琴(qin)(qin)弦(xian)(xian)(xian)，軋時(shi)竹片不在(zai)弦(xian)(xian)(xian)的(de)上(外)面而處(chu)于(yu)兩(liang)(liang)弦(xian)(xian)(xian)之(zhi)(zhi)(zhi)間(jian)。

歷史

胡琴(qin)在(zai)唐宋時(shi)期(qi)(qi)，既是(shi)拉弦(xian)、又是(shi)彈(dan)弦(xian)樂(le)器(qi)，兩種演(yan)奏(zou)方法兼(jian)而有(you)之(zhi)。與陳旸(yang)同一時(shi)代(dai)的(de)北宋文(wen)人(ren)歐(ou)陽修，在(zai)他的(de)《試(shi)院聞(wen)胡琴(qin)作》一詩中寫(xie)道：“胡琴(qin)本(ben)出胡人(ren)樂(le)，奚奴(nu)彈(dan)之(zhi)雙淚落”。演(yan)奏(zou)方法則是(shi)彈(dan)撥(bo)，沒有(you)“用竹(zhu)(zhu)片軋之(zhi)”的(de)含意。在(zai)另(ling)一首詩中有(you)著頗為詳盡的(de)記載：“奚人(ren)作琴(qin)便馬上，弦(xian)以雙繭絕(jue)清壯。高堂(tang)一聽(ting)風雪寒，坐客低(di)回為凄愴。深入洞簫抗如歌，眾音疑是(shi)此多，可憐繁手無斷續，誰道絲聲不如竹(zhu)(zhu)。”這里(li)顯然(ran)描寫(xie)的(de)是(shi)兩弦(xian)彈(dan)撥(bo)樂(le)器(qi)胡琴(qin)。可見(jian)，唐宋兩代(dai)，胡琴(qin)正處(chu)于由彈(dan)弦(xian)樂(le)器(qi)向拉弦(xian)樂(le)器(qi)過渡的(de)時(shi)期(qi)(qi)。

宋(song)代(dai)的(de)(de)(de)(de)(de)(de)(de)(de)胡(hu)琴(qin)(qin)(qin)(qin)(qin)又(you)稱稽(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)。宋(song)代(dai)高承公(gong)元(yuan)(yuan)1080年(nian)撰輯的(de)(de)(de)(de)(de)(de)(de)(de)《事(shi)(shi)物紀原》中(zhong)(zhong)有(you)(you)：“杜(du)摯(zhi)賦(fu)序(xu)(xu)曰(yue)：秦末人苦長城(cheng)之(zhi)(zhi)(zhi)役，弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)鼗(tao)而(er)鼓(gu)之(zhi)(zhi)(zhi)，記(ji)(ji)以(yi)為(wei)(wei)琵琶之(zhi)(zhi)(zhi)始。按鼗(tao)如(ru)鼓(gu)而(er)小，有(you)(you)柄(bing)，長尺余。然(ran)則(ze)擊弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)于(yu)(yu)鼓(gu)首(shou)而(er)屬之(zhi)(zhi)(zhi)于(yu)(yu)柄(bing)末，與(yu)琵琶極不仿佛(fo)，其狀今稽(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)也。是(shi)(shi)稽(ji)(ji)康琴(qin)(qin)(qin)(qin)(qin)為(wei)(wei)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)鼗(tao)遺象明(ming)(ming)矣(yi)。”照(zhao)此(ci)記(ji)(ji)述(shu)(shu)，稽(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)在(zai)(zai)(zai)北(bei)宋(song)之(zhi)(zhi)(zhi)時，仍靠彈(dan)撥琴(qin)(qin)(qin)(qin)(qin)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)來發音(yin)，而(er)不是(shi)(shi)軋(ya)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)發音(yin)的(de)(de)(de)(de)(de)(de)(de)(de)拉(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)器(qi)。在(zai)(zai)(zai)宋(song)代(dai)陳元(yuan)(yuan)靚《事(shi)(shi)林(lin)廣記(ji)(ji)》(卷八)中(zhong)(zhong)，則(ze)明(ming)(ming)確地(di)記(ji)(ji)載(zai)著(zhu)稽(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)是(shi)(shi)拉(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)器(qi)。文中(zhong)(zhong)說(shuo)(shuo)(shuo)：“稽(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)本稽(ji)(ji)康所(suo)制(zhi)(zhi)，故名稽(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)。二(er)(er)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)，以(yi)竹(zhu)片(pian)軋(ya)之(zhi)(zhi)(zhi)，其聲清(qing)亮。”把稽(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)歸于(yu)(yu)公(gong)元(yuan)(yuan)3世紀的(de)(de)(de)(de)(de)(de)(de)(de)稽(ji)(ji)康所(suo)制(zhi)(zhi)，顯(xian)然(ran)是(shi)(shi)偽托古人的(de)(de)(de)(de)(de)(de)(de)(de)一(yi)種附會，這(zhe)可(ke)能是(shi)(shi)陳氏(shi)效其“阮(ruan)咸造阮(ruan)”之(zhi)(zhi)(zhi)說(shuo)(shuo)(shuo)吧。同(tong)是(shi)(shi)宋(song)人，又(you)同(tong)是(shi)(shi)記(ji)(ji)述(shu)(shu)稽(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)，卻記(ji)(ji)載(zai)著(zhu)兩種不同(tong)的(de)(de)(de)(de)(de)(de)(de)(de)演奏(zou)(zou)方法。這(zhe)充分說(shuo)(shuo)(shuo)明(ming)(ming)，宋(song)代(dai)稽(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)仍處于(yu)(yu)由彈(dan)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)器(qi)向(xiang)拉(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)器(qi)的(de)(de)(de)(de)(de)(de)(de)(de)過(guo)渡(du)階段。 　 宋(song)代(dai)晚期，中(zhong)(zhong)國北(bei)部邊疆地(di)區已(yi)經(jing)(jing)開始使(shi)用(yong)(yong)以(yi)馬尾(wei)作為(wei)(wei)弓(gong)(gong)毛拉(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)擦(ca)(ca)奏(zou)(zou)的(de)(de)(de)(de)(de)(de)(de)(de)樂(le)(le)(le)(le)器(qi)了。在(zai)(zai)(zai)陜西(xi)(xi)榆林(lin)石窟第十窟的(de)(de)(de)(de)(de)(de)(de)(de)壁畫(hua)中(zhong)(zhong)，畫(hua)有(you)(you)一(yi)飛(fei)天用(yong)(yong)馬尾(wei)弓(gong)(gong)拉(la)(la)(la)奏(zou)(zou)卷首(shou)、二(er)(er)軫(zhen)、二(er)(er)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)、圓筒(tong)(tong)形(xing)(xing)(xing)琴(qin)(qin)(qin)(qin)(qin)筒(tong)(tong)的(de)(de)(de)(de)(de)(de)(de)(de)樂(le)(le)(le)(le)器(qi)。此(ci)窟年(nian)代(dai)約當西(xi)(xi)夏(公(gong)元(yuan)(yuan)1038年(nian)—1227年(nian))時期，即(ji)與(yu)中(zhong)(zhong)原的(de)(de)(de)(de)(de)(de)(de)(de)宋(song)代(dai)相交錯。在(zai)(zai)(zai)山西(xi)(xi)省繁峙(zhi)縣巖山寺的(de)(de)(de)(de)(de)(de)(de)(de)經(jing)(jing)幢(為(wei)(wei)“特賜廣濟大(da)(da)師(shi)之(zhi)(zhi)(zhi)塔”)上(shang)，有(you)(you)一(yi)線刻樂(le)(le)(le)(le)器(qi)圖(tu)形(xing)(xing)(xing)，一(yi)人正盤腿(tui)而(er)坐(zuo)，手(shou)持馬尾(wei)弓(gong)(gong)拉(la)(la)(la)奏(zou)(zou)。有(you)(you)關學(xue)者認為(wei)(wei)，繁峙(zhi)在(zai)(zai)(zai)元(yuan)(yuan)代(dai)之(zhi)(zhi)(zhi)前(qian)即(ji)為(wei)(wei)蒙古管(guan)轄(xia)，并以(yi)大(da)(da)元(yuan)(yuan)為(wei)(wei)年(nian)號，此(ci)經(jing)(jing)幢為(wei)(wei)“大(da)(da)元(yuan)(yuan)二(er)(er)十三(san)(san)年(nian)十月十日”建成(cheng)，即(ji)公(gong)元(yuan)(yuan)1236年(nian)，也正值宋(song)代(dai)末年(nian)。上(shang)述(shu)(shu)兩處之(zhi)(zhi)(zhi)樂(le)(le)(le)(le)器(qi)圖(tu)像，均與(yu)今日之(zhi)(zhi)(zhi)二(er)(er)胡(hu)維(wei)妙維(wei)肖。這(zhe)種用(yong)(yong)馬尾(wei)弓(gong)(gong)代(dai)替(ti)竹(zhu)片(pian)擦(ca)(ca)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)發音(yin)的(de)(de)(de)(de)(de)(de)(de)(de)樂(le)(le)(le)(le)器(qi)，是(shi)(shi)中(zhong)(zhong)國北(bei)方長期過(guo)著(zhu)游牧生活的(de)(de)(de)(de)(de)(de)(de)(de)少數民族的(de)(de)(de)(de)(de)(de)(de)(de)創造，它(ta)是(shi)(shi)拉(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)器(qi)向(xiang)前(qian)發展的(de)(de)(de)(de)(de)(de)(de)(de)一(yi)個里程碑。 南(nan)宋(song)之(zhi)(zhi)(zhi)時，胡(hu)琴(qin)(qin)(qin)(qin)(qin)類拉(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)器(qi)開始走上(shang)發展時期。中(zhong)(zhong)國大(da)(da)批制(zhi)(zhi)造樂(le)(le)(le)(le)器(qi)用(yong)(yong)的(de)(de)(de)(de)(de)(de)(de)(de)絲弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)，也始于(yu)(yu)南(nan)宋(song)遷都臨安(an)(今杭(hang)(hang)州)之(zhi)(zhi)(zhi)際(ji)，故絲弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)有(you)(you)“杭(hang)(hang)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)”之(zhi)(zhi)(zhi)稱。在(zai)(zai)(zai)當時文人的(de)(de)(de)(de)(de)(de)(de)(de)筆記(ji)(ji)、小說(shuo)(shuo)(shuo)里也不時提及，在(zai)(zai)(zai)《綠(lv)窗(chuang)新(xin)語(yu)》中(zhong)(zhong)的(de)(de)(de)(de)(de)(de)(de)(de)“金彥游春(chun)遇(yu)春(chun)娘”故事(shi)(shi)里，就寫有(you)(you)：“金彥與(yu)何俞(yu)出城(cheng)西(xi)(xi)游春(chun)，見一(yi)庭(ting)院華麗，乃王太(tai)尉莊。貫(guan)酒坐(zuo)閣子上(shang)，彥取二(er)(er)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)軋(ya)之(zhi)(zhi)(zhi)，俞(yu)取簫(xiao)管(guan)合奏(zou)(zou)。”這(zhe)“二(er)(er)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)”即(ji)是(shi)(shi)與(yu)胡(hu)琴(qin)(qin)(qin)(qin)(qin)形(xing)(xing)(xing)制(zhi)(zhi)十分相似的(de)(de)(de)(de)(de)(de)(de)(de)拉(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)器(qi)。 　 明(ming)(ming)代(dai)，胡(hu)琴(qin)(qin)(qin)(qin)(qin)類拉(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)器(qi)隨著(zhu)戲劇和(he)曲藝的(de)(de)(de)(de)(de)(de)(de)(de)興起而(er)有(you)(you)所(suo)改進(jin)(jin)和(he)發展，演奏(zou)(zou)形(xing)(xing)(xing)式也多(duo)種多(duo)樣。從(cong)明(ming)(ming)嘉靖元(yuan)(yuan)年(nian)(公(gong)元(yuan)(yuan)1522年(nian))尤子求的(de)(de)(de)(de)(de)(de)(de)(de)《麟堂秋宴圖(tu)》畫(hua)卷中(zhong)(zhong)，就可(ke)以(yi)看到一(yi)種由胡(hu)琴(qin)(qin)(qin)(qin)(qin)、簫(xiao)管(guan)和(he)拍板三(san)(san)種樂(le)(le)(le)(le)器(qi)組成(cheng)的(de)(de)(de)(de)(de)(de)(de)(de)合奏(zou)(zou)形(xing)(xing)(xing)式，圖(tu)中(zhong)(zhong)所(suo)繪的(de)(de)(de)(de)(de)(de)(de)(de)胡(hu)琴(qin)(qin)(qin)(qin)(qin)，是(shi)(shi)龍首(shou)、卷頸、二(er)(er)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)、馬尾(wei)弓(gong)(gong)，而(er)且有(you)(you)了用(yong)(yong)以(yi)固定弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)長的(de)(de)(de)(de)(de)(de)(de)(de)千斤(jin)。這(zhe)在(zai)(zai)(zai)陳旸《樂(le)(le)(le)(le)書(shu)》中(zhong)(zhong)的(de)(de)(de)(de)(de)(de)(de)(de)胡(hu)琴(qin)(qin)(qin)(qin)(qin)圖(tu)上(shang)是(shi)(shi)沒有(you)(you)的(de)(de)(de)(de)(de)(de)(de)(de)，但也保留著(zhu)胡(hu)琴(qin)(qin)(qin)(qin)(qin)的(de)(de)(de)(de)(de)(de)(de)(de)較(jiao)短(duan)琴(qin)(qin)(qin)(qin)(qin)筒(tong)(tong)、置軸方向(xiang)和(he)拴(shuan)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)方法。它(ta)較(jiao)南(nan)宋(song)《綠(lv)窗(chuang)新(xin)語(yu)》中(zhong)(zhong)的(de)(de)(de)(de)(de)(de)(de)(de)二(er)(er)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)有(you)(you)了較(jiao)大(da)(da)進(jin)(jin)步，與(yu)今日的(de)(de)(de)(de)(de)(de)(de)(de)朝(chao)(chao)鮮(xian)族胡(hu)琴(qin)(qin)(qin)(qin)(qin)和(he)我國福建地(di)區流行的(de)(de)(de)(de)(de)(de)(de)(de)南(nan)音(yin)二(er)(er)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)已(yi)較(jiao)為(wei)(wei)接近。朝(chao)(chao)鮮(xian)音(yin)樂(le)(le)(le)(le)家成(cheng)伣編朝(chao)(chao)鮮(xian)古籍(ji)《樂(le)(le)(le)(le)學(xue)軌范》(1494年(nian)序(xu)(xu))中(zhong)(zhong)載(zai)有(you)(you)：“胡(hu)琴(qin)(qin)(qin)(qin)(qin)，以(yi)黜(chu)檀花木(刮青皮)，或烏竹(zhu)、海竹(zhu)弓(gong)(gong)馬尾(wei)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)，用(yong)(yong)松脂軋(ya)之(zhi)(zhi)(zhi)。按用(yong)(yong)左手(shou)，軋(ya)用(yong)(yong)右手(shou)，只奏(zou)(zou)鄉樂(le)(le)(le)(le)。”可(ke)見，胡(hu)琴(qin)(qin)(qin)(qin)(qin)在(zai)(zai)(zai)明(ming)(ming)代(dai)已(yi)傳入(ru)朝(chao)(chao)鮮(xian)。清(qing)代(dai)，胡(hu)琴(qin)(qin)(qin)(qin)(qin)用(yong)(yong)于(yu)(yu)宮廷的(de)(de)(de)(de)(de)(de)(de)(de)瓦爾喀部樂(le)(le)(le)(le)和(he)慶(qing)隆樂(le)(le)(le)(le)中(zhong)(zhong)，而(er)前(qian)者還要使(shi)用(yong)(yong)四(si)件胡(hu)琴(qin)(qin)(qin)(qin)(qin)演奏(zou)(zou)。據民間傳說(shuo)(shuo)(shuo)，胡(hu)琴(qin)(qin)(qin)(qin)(qin)是(shi)(shi)經(jing)(jing)東(dong)胡(hu)人之(zhi)(zhi)(zhi)手(shou)傳入(ru)牡丹江鏡泊湖一(yi)帶及東(dong)鏡城(cheng)等(deng)地(di)的(de)(de)(de)(de)(de)(de)(de)(de)。后來成(cheng)為(wei)(wei)朝(chao)(chao)鮮(xian)族人民所(suo)喜愛的(de)(de)(de)(de)(de)(de)(de)(de)拉(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)器(qi)。

演奏

演(yan)奏(zou)(zou)時(shi)采用坐姿，將琴(qin)筒(tong)置于左(zuo)腿上，左(zuo)手(shou)(shou)持琴(qin)，常用食(shi)指(zhi)(zhi)、中指(zhi)(zhi)、無名指(zhi)(zhi)和(he)小指(zhi)(zhi)的(de)第(di)一關節彎曲(qu)處(chu)按(an)弦(xian)，右手(shou)(shou)用五指(zhi)(zhi)握弓(gong)或(huo)拇指(zhi)(zhi)、食(shi)指(zhi)(zhi)、中指(zhi)(zhi)握弓(gong)、在兩弦(xian)間拉(la)奏(zou)(zou)。胡(hu)琴(qin)一般采用五度(du)音(yin)(yin)(yin)程關系定弦(xian)，常定弦(xian)為(wei)A、e或(huo)c、g，音(yin)(yin)(yin)域A—a1或(huo)c—c2，有兩個八度(du)。發音(yin)(yin)(yin)柔(rou)和(he)、優(you)美，音(yin)(yin)(yin)色(se)明亮(liang)、動聽，接近漢族(zu)的(de)中音(yin)(yin)(yin)板胡(hu)。左(zuo)手(shou)(shou)按(an)弦(xian)為(wei)滿(man)手(shou)(shou)握弦(xian)，俗稱(cheng)勾(gou)弦(xian)或(huo)抓弦(xian)，少換把位，有顫音(yin)(yin)(yin)、打音(yin)(yin)(yin)、滑音(yin)(yin)(yin)等演(yan)奏(zou)(zou)技(ji)巧(qiao)。民(min)(min)間樂(le)手(shou)(shou)演(yan)奏(zou)(zou)時(shi)，習慣不(bu)用千(qian)斤，用勾(gou)、抓弦(xian)轉調。可用于獨(du)奏(zou)(zou)、合奏(zou)(zou)或(huo)伴奏(zou)(zou)，是(shi)朝鮮(xian)族(zu)民(min)(min)族(zu)樂(le)隊中的(de)主要拉(la)弦(xian)樂(le)器。擅(shan)長演(yan)奏(zou)(zou)曲(qu)調悠緩的(de)古典樂(le)曲(qu)或(huo)旋律歡快的(de)民(min)(min)間樂(le)曲(qu)。較著名的(de)獨(du)奏(zou)(zou)曲(qu)有：《紡織謠》、《胡(hu)琴(qin)·散曲(qu)》、《漁夫曲(qu)》和(he)《農夫樂(le)》等。

改革(ge)胡(hu)琴·四弦(xian)(xian)(xian)胡(hu)琴：朝鮮(xian)族弓拉(la)弦(xian)(xian)(xian)鳴樂(le)器(qi)。20世紀60年代，朝鮮(xian)族胡(hu)琴演奏家李一男等制作成功改革(ge)胡(hu)琴和四弦(xian)(xian)(xian)胡(hu)琴，四弦(xian)(xian)(xian)胡(hu)琴有高音(yin)、中音(yin)和低音(yin)三(san)種，已用于吉林省延(yan)邊朝鮮(xian)族自治州專業音(yin)樂(le)藝(yi)術(shu)團體(ti)中，是(shi)朝鮮(xian)族民族樂(le)隊的(de)主要拉(la)弦(xian)(xian)(xian)樂(le)器(qi)。

改革胡(hu)琴(qin)(qin)(qin)：全長(chang)65厘(li)(li)(li)米(mi)。琴(qin)(qin)(qin)筒(tong)(tong)(tong)竹制(zhi)，筒(tong)(tong)(tong)長(chang)13厘(li)(li)(li)米(mi)，筒(tong)(tong)(tong)前口蒙以桐木面板，面徑9.5厘(li)(li)(li)米(mi)。琴(qin)(qin)(qin)桿(gan)(gan)用(yong)(yong)烏木、紫檀或(huo)紅木制(zhi)作，為圓(yuan)形(xing)柱(zhu)狀體、琴(qin)(qin)(qin)頭(tou)(tou)呈彎月(yue)形(xing)朝前彎曲，桿(gan)(gan)的上部橫置兩個硬木制(zhi)弦軸(zhou)，軸(zhou)頂呈葫蘆形(xing)或(huo)圓(yuan)錐形(xing)，軸(zhou)長(chang)11厘(li)(li)(li)米(mi)，軸(zhou)頭(tou)(tou)裝有(you)金屬(shu)螺旋(又稱直行銅軸(zhou))可微調音高。弦軸(zhou)下方設有(you)腰馬支(zhi)弦，琴(qin)(qin)(qin)筒(tong)(tong)(tong)下方增(zeng)置木制(zhi)底托，使演(yan)奏(zou)(zou)中琴(qin)(qin)(qin)身平穩。張兩條鋼絲弦。琴(qin)(qin)(qin)弓(gong)用(yong)(yong)直桿(gan)(gan)細竹系以馬尾(wei)而成，弓(gong)長(chang)80厘(li)(li)(li)。這種(zhong)改革胡(hu)琴(qin)(qin)(qin)，發音明亮、圓(yuan)潤，音色悠揚、悅耳(er)，音量也較(jiao)傳統胡(hu)琴(qin)(qin)(qin)增(zeng)大(da)，音域增(zeng)至三個八度(du)。可用(yong)(yong)于獨奏(zou)(zou)、合奏(zou)(zou)或(huo)伴奏(zou)(zou)，尤以獨奏(zou)(zou)效果最佳(jia)。

四(si)(si)弦(xian)(xian)(xian)胡(hu)(hu)琴(qin)：是胡(hu)(hu)琴(qin)的(de)(de)系列(lie)樂(le)器新品種，它包(bao)括高音(yin)(yin)(yin)(yin)(yin)、中音(yin)(yin)(yin)(yin)(yin)和低(di)音(yin)(yin)(yin)(yin)(yin)胡(hu)(hu)琴(qin)三種。琴(qin)筒、琴(qin)桿均用(yong)色木制作，增設(she)了烏木指板。高音(yin)(yin)(yin)(yin)(yin)四(si)(si)弦(xian)(xian)(xian)胡(hu)(hu)琴(qin)按五度關(guan)系定(ding)(ding)弦(xian)(xian)(xian)為：g、d1、a1、e2， 音(yin)(yin)(yin)(yin)(yin)域g—c4；中音(yin)(yin)(yin)(yin)(yin)四(si)(si)弦(xian)(xian)(xian)胡(hu)(hu)琴(qin)的(de)(de)定(ding)(ding)弦(xian)(xian)(xian)比高音(yin)(yin)(yin)(yin)(yin)胡(hu)(hu)琴(qin)低(di)五度，定(ding)(ding)弦(xian)(xian)(xian)為：c、g、d1、a1，音(yin)(yin)(yin)(yin)(yin)域c—a3；低(di)音(yin)(yin)(yin)(yin)(yin)四(si)(si)弦(xian)(xian)(xian)胡(hu)(hu)琴(qin)的(de)(de)定(ding)(ding)弦(xian)(xian)(xian)比中音(yin)(yin)(yin)(yin)(yin)胡(hu)(hu)琴(qin)低(di)八(ba)(ba)度，定(ding)(ding)弦(xian)(xian)(xian)為：C、G、d、a，音(yin)(yin)(yin)(yin)(yin)域C—c2。這套 四(si)(si)弦(xian)(xian)(xian)胡(hu)(hu)琴(qin)的(de)(de)總音(yin)(yin)(yin)(yin)(yin)域C—c4，達五個八(ba)(ba)度。適于合奏(zou)或伴奏(zou)使用(yong)，已(yi)用(yong)于朝鮮族民(min)族樂(le)隊(dui)中。

奚胡除在朝鮮族民間(jian)(jian)流(liu)傳(chuan)外，在內蒙古(gu)自治區東部和(he)遼寧、黑(hei)龍江等省的蒙古(gu)族民間(jian)(jian)也(ye)有(you)流(liu)傳(chuan)。其結構和(he)奏法均與朝鮮族胡琴(qin)近似，但形(xing)制(zhi)較小。琴(qin)桿用色(se)木或(huo)硬(ying)雜木制(zhi)成(cheng)，長(chang)50厘(li)米(mi)。琴(qin)筒用木或(huo)金屬制(zhi)成(cheng)，筒長(chang)10厘(li)米(mi)，前口蒙以(yi)桐木薄板為(wei)面，面徑7厘(li)米(mi)。弦(xian)(xian)軸(zhou)木制(zhi)，圓錐形(xing)。張兩條絲弦(xian)(xian)或(huo)腸衣弦(xian)(xian)。琴(qin)弓用竹(zhu)片彎(wan)成(cheng)弧形(xing)，兩端系以(yi)馬尾(wei)，弓長(chang)40厘(li)米(mi)。五(wu)度定弦(xian)(xian)為(wei)g、d1，音(yin)域g—g1，只有(you)一個八度。發(fa)音(yin)柔弱，音(yin)色(se)渾厚(hou)。但流(liu)傳(chuan)不夠廣(guang)泛，現僅(jin)個別民間(jian)(jian)老藝人還有(you)使用。