芒果视频下载

簡介

胡琴，又稱鄉(xiang)胡、稽(同奚(xi))琴。歷史悠久、形制古樸。發音柔美，音色(se)動聽。可(ke)用(yong)于獨奏(zou)、合奏(zou)或為歌舞伴(ban)奏(zou)。流(liu)行(xing)于遼寧、吉(ji)林、黑龍江等省，尤以吉(ji)林省延邊(bian)朝(chao)鮮(xian)(xian)族自治(zhi)州盛行(xing)。流(liu)行(xing)于吉(ji)林省延邊(bian)朝(chao)鮮(xian)(xian)族自治(zhi)州。 唐(tang)宋時期(qi)的(de)胡琴曾傳入朝(chao)鮮(xian)(xian)。朝(chao)鮮(xian)(xian)成伣編《樂(le)學(xue)軌范(fan)》（有(you)1494年序）載：“……以黜檀(tan)花(hua)木(mu)（刮青皮）或烏竹(zhu)海竹(zhu)弓(gong)馬尾(wei)弦，用(yong)松脂軋(ya)之(zhi)。按用(yong)左手，軋(ya)用(yong)右手，只(zhi)奏(zou)鄉(xiang)樂(le)”。

現代(dai)胡(hu)(hu)琴(qin)(qin)(qin)(qin)，全長(chang)60厘米(mi)。琴(qin)(qin)(qin)(qin)筒木(mu)或竹制(zhi)(zhi)，有(you)半圓球形和(he)(he)長(chang)筒形兩種。前(qian)口蒙桐木(mu)薄板。琴(qin)(qin)(qin)(qin)桿木(mu)制(zhi)(zhi)，琴(qin)(qin)(qin)(qin)頭呈彎月(yue)狀、無飾，兩軸(zhou)置于(yu)(yu)琴(qin)(qin)(qin)(qin)桿上(shang)部右側、與琴(qin)(qin)(qin)(qin)筒呈平(ping)行，軸(zhou)頂(ding)旋成葫蘆形。張兩條絲(si)弦(xian)(xian)或鋼絲(si)弦(xian)(xian)。五(wu)度定弦(xian)(xian)A、e，音(yin)(yin)域(yu) A—a1。 遠在古代(dai)，中(zhong)原的(de)(de)(de)(de)漢(han)族(zu)(zu)人民(min)，把(ba)居住在北(bei)(bei)(bei)(bei)方和(he)(he)西北(bei)(bei)(bei)(bei)方的(de)(de)(de)(de)少(shao)數民(min)族(zu)(zu)統稱為(wei)胡(hu)(hu)，對(dui)他們所用的(de)(de)(de)(de)樂(le)(le)(le)器(qi)、音(yin)(yin)樂(le)(le)(le)以及服(fu)飾等，也(ye)(ye)都冠以胡(hu)(hu)字。《后漢(han)書·五(wu)行志》中(zhong)有(you)：“靈帝(di)好(hao)(hao)胡(hu)(hu)服(fu)、……胡(hu)(hu)箜篌、胡(hu)(hu)笛、胡(hu)(hu)舞，……”。漢(han)劉熙《釋名(ming)》載：“批把(ba)本出于(yu)(yu)胡(hu)(hu)中(zhong)”之(zhi)(zhi)句，琵(pi)(pi)琶以出胡(hu)(hu)中(zhong)，而(er)名(ming)胡(hu)(hu)琴(qin)(qin)(qin)(qin)。唐初(chu)四川射洪大詩人陳子昂，曾以千金買一(yi)(yi)胡(hu)(hu)琴(qin)(qin)(qin)(qin)，即是琵(pi)(pi)琶，直至唐宋(song)(song)之(zhi)(zhi)時(shi)，對(dui)琵(pi)(pi)琶、忽雷等彈弦(xian)(xian)樂(le)(le)(le)器(qi)，還稱之(zhi)(zhi)為(wei)胡(hu)(hu)琴(qin)(qin)(qin)(qin)。 胡(hu)(hu)琴(qin)(qin)(qin)(qin)是中(zhong)國(guo)古代(dai)北(bei)(bei)(bei)(bei)方、西北(bei)(bei)(bei)(bei)方少(shao)數民(min)族(zu)(zu)所用樂(le)(le)(le)器(qi)的(de)(de)(de)(de)統稱，近代(dai)才(cai)作為(wei)胡(hu)(hu)琴(qin)(qin)(qin)(qin)類拉弦(xian)(xian)樂(le)(le)(le)器(qi)的(de)(de)(de)(de)專稱。胡(hu)(hu)琴(qin)(qin)(qin)(qin)始于(yu)(yu)唐代(dai)。在宋(song)(song)代(dai)音(yin)(yin)樂(le)(le)(le)理論家(jia)陳旸于(yu)(yu)公元(yuan)1099年所著的(de)(de)(de)(de)《樂(le)(le)(le)書》(卷一(yi)(yi)二(er)八)中(zhong)載有(you)：“胡(hu)(hu)琴(qin)(qin)(qin)(qin)本胡(hu)(hu)樂(le)(le)(le)也(ye)(ye)，出于(yu)(yu)弦(xian)(xian)鼗(tao)(tao)而(er)形亦類焉，奚部所好(hao)(hao)之(zhi)(zhi)樂(le)(le)(le)也(ye)(ye)。蓋其制(zhi)(zhi)，兩弦(xian)(xian)間(jian)以竹片軋(ya)之(zhi)(zhi)，至今(jin)民(min)間(jian)用焉。”據書中(zhong)所示(shi)，兩弦(xian)(xian)軸(zhou)的(de)(de)(de)(de)裝置方向與今(jin)日二(er)胡(hu)(hu)相反，不用千斤。奚族(zu)(zu)在南(nan)北(bei)(bei)(bei)(bei)朝時(shi)稱庫莫奚，居住在我國(guo)東北(bei)(bei)(bei)(bei)地區的(de)(de)(de)(de)西拉木(mu)倫河流域(yu)，唐末之(zhi)(zhi)時(shi)，一(yi)(yi)部分奚人西徙媯州(今(jin)河北(bei)(bei)(bei)(bei)省(sheng)懷來(lai)縣)，別稱西奚，五(wu)代(dai)十國(guo)時(shi)，東、西奚漸與契丹人相融合。據陳旸所考，胡(hu)(hu)琴(qin)(qin)(qin)(qin)當為(wei)唐代(dai)末年我國(guo)北(bei)(bei)(bei)(bei)方西奚所用的(de)(de)(de)(de)一(yi)(yi)種樂(le)(le)(le)器(qi)。它(ta)是在古代(dai)彈弦(xian)(xian)樂(le)(le)(le)器(qi)弦(xian)(xian)鼗(tao)(tao)的(de)(de)(de)(de)基礎上(shang)衍變(bian)發展而(er)成的(de)(de)(de)(de)，其演奏方法(fa)與軋(ya)箏相似，完全是受到唐初(chu)漢(han)族(zu)(zu)軋(ya)箏的(de)(de)(de)(de)影響所致，不同之(zhi)(zhi)處(chu)(chu)是胡(hu)(hu)琴(qin)(qin)(qin)(qin)只有(you)兩條琴(qin)(qin)(qin)(qin)弦(xian)(xian)，軋(ya)時(shi)竹片不在弦(xian)(xian)的(de)(de)(de)(de)上(shang)(外)面而(er)處(chu)(chu)于(yu)(yu)兩弦(xian)(xian)之(zhi)(zhi)間(jian)。

歷史

胡琴(qin)(qin)在唐宋(song)時期，既是拉弦(xian)(xian)、又是彈(dan)弦(xian)(xian)樂器(qi)(qi)，兩種演(yan)奏(zou)方法(fa)兼而有之。與陳旸同(tong)一(yi)時代(dai)的(de)北宋(song)文人歐陽(yang)修，在他的(de)《試院(yuan)聞胡琴(qin)(qin)作(zuo)》一(yi)詩(shi)中(zhong)寫道：“胡琴(qin)(qin)本出(chu)胡人樂，奚(xi)奴(nu)彈(dan)之雙(shuang)淚(lei)落”。演(yan)奏(zou)方法(fa)則是彈(dan)撥，沒(mei)有“用竹片軋之”的(de)含意。在另(ling)一(yi)首詩(shi)中(zhong)有著頗(po)為詳(xiang)盡的(de)記載：“奚(xi)人作(zuo)琴(qin)(qin)便馬上，弦(xian)(xian)以雙(shuang)繭絕清壯。高(gao)堂一(yi)聽(ting)風雪(xue)寒，坐客低回為凄(qi)愴(chuang)。深入洞簫抗如(ru)歌，眾音疑是此(ci)多，可憐繁手(shou)無斷續(xu)，誰(shui)道絲聲不(bu)如(ru)竹。”這里顯然描寫的(de)是兩弦(xian)(xian)彈(dan)撥樂器(qi)(qi)胡琴(qin)(qin)。可見(jian)，唐宋(song)兩代(dai)，胡琴(qin)(qin)正(zheng)處于由(you)彈(dan)弦(xian)(xian)樂器(qi)(qi)向拉弦(xian)(xian)樂器(qi)(qi)過(guo)渡的(de)時期。

宋(song)(song)(song)(song)(song)代(dai)(dai)的(de)(de)(de)(de)(de)(de)(de)胡(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)又稱稽(ji)(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)(qin)。宋(song)(song)(song)(song)(song)代(dai)(dai)高承公元(yuan)1080年(nian)(nian)(nian)撰輯的(de)(de)(de)(de)(de)(de)(de)《事(shi)物紀原》中(zhong)(zhong)(zhong)(zhong)有(you)(you)(you)(you)(you)：“杜摯(zhi)賦序曰：秦末人(ren)(ren)苦長(chang)城(cheng)之(zhi)(zhi)(zhi)役，弦(xian)(xian)(xian)(xian)(xian)(xian)鼗而(er)鼓之(zhi)(zhi)(zhi)，記(ji)以(yi)(yi)為(wei)(wei)(wei)(wei)琵(pi)琶之(zhi)(zhi)(zhi)始(shi)。按鼗如鼓而(er)小，有(you)(you)(you)(you)(you)柄(bing)，長(chang)尺余。然則擊(ji)弦(xian)(xian)(xian)(xian)(xian)(xian)于(yu)鼓首(shou)而(er)屬之(zhi)(zhi)(zhi)于(yu)柄(bing)末，與(yu)(yu)(yu)(yu)琵(pi)琶極不仿佛，其狀今(jin)(jin)稽(ji)(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)(qin)也。是(shi)(shi)(shi)稽(ji)(ji)(ji)(ji)康琴(qin)(qin)(qin)(qin)(qin)(qin)為(wei)(wei)(wei)(wei)弦(xian)(xian)(xian)(xian)(xian)(xian)鼗遺(yi)象明矣。”照(zhao)此(ci)記(ji)述(shu)，稽(ji)(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)(qin)在(zai)北宋(song)(song)(song)(song)(song)之(zhi)(zhi)(zhi)時(shi)，仍(reng)(reng)靠彈(dan)撥琴(qin)(qin)(qin)(qin)(qin)(qin)弦(xian)(xian)(xian)(xian)(xian)(xian)來發(fa)(fa)(fa)音(yin)，而(er)不是(shi)(shi)(shi)軋弦(xian)(xian)(xian)(xian)(xian)(xian)發(fa)(fa)(fa)音(yin)的(de)(de)(de)(de)(de)(de)(de)拉(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)。在(zai)宋(song)(song)(song)(song)(song)代(dai)(dai)陳(chen)元(yuan)靚(jing)《事(shi)林廣記(ji)》(卷八)中(zhong)(zhong)(zhong)(zhong)，則明確(que)地(di)記(ji)載(zai)著稽(ji)(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)(qin)是(shi)(shi)(shi)拉(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)。文(wen)中(zhong)(zhong)(zhong)(zhong)說：“稽(ji)(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)(qin)本稽(ji)(ji)(ji)(ji)康所(suo)制(zhi)，故(gu)(gu)名稽(ji)(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)(qin)。二(er)(er)弦(xian)(xian)(xian)(xian)(xian)(xian)，以(yi)(yi)竹片軋之(zhi)(zhi)(zhi)，其聲清亮(liang)。”把稽(ji)(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)(qin)歸于(yu)公元(yuan)3世紀的(de)(de)(de)(de)(de)(de)(de)稽(ji)(ji)(ji)(ji)康所(suo)制(zhi)，顯然是(shi)(shi)(shi)偽托古人(ren)(ren)的(de)(de)(de)(de)(de)(de)(de)一(yi)種(zhong)附會，這(zhe)(zhe)可(ke)能是(shi)(shi)(shi)陳(chen)氏效其“阮咸(xian)造阮”之(zhi)(zhi)(zhi)說吧。同是(shi)(shi)(shi)宋(song)(song)(song)(song)(song)人(ren)(ren)，又同是(shi)(shi)(shi)記(ji)述(shu)稽(ji)(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)(qin)，卻記(ji)載(zai)著兩(liang)(liang)種(zhong)不同的(de)(de)(de)(de)(de)(de)(de)演(yan)(yan)奏(zou)(zou)方(fang)(fang)法(fa)。這(zhe)(zhe)充分說明，宋(song)(song)(song)(song)(song)代(dai)(dai)稽(ji)(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)(qin)仍(reng)(reng)處于(yu)由(you)彈(dan)弦(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)向(xiang)(xiang)拉(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)的(de)(de)(de)(de)(de)(de)(de)過渡階(jie)段。 　 宋(song)(song)(song)(song)(song)代(dai)(dai)晚期(qi)，中(zhong)(zhong)(zhong)(zhong)國北部(bu)邊疆地(di)區已(yi)經開(kai)始(shi)使(shi)用(yong)(yong)以(yi)(yi)馬(ma)尾(wei)作為(wei)(wei)(wei)(wei)弓(gong)(gong)毛拉(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)擦奏(zou)(zou)的(de)(de)(de)(de)(de)(de)(de)樂(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)了(le)。在(zai)陜西(xi)榆(yu)林石窟(ku)第十窟(ku)的(de)(de)(de)(de)(de)(de)(de)壁畫(hua)中(zhong)(zhong)(zhong)(zhong)，畫(hua)有(you)(you)(you)(you)(you)一(yi)飛天用(yong)(yong)馬(ma)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)、圓(yuan)筒(tong)形琴(qin)(qin)(qin)(qin)(qin)(qin)筒(tong)的(de)(de)(de)(de)(de)(de)(de)樂(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)。此(ci)窟(ku)年(nian)(nian)(nian)代(dai)(dai)約當西(xi)夏(xia)(公元(yuan)1038年(nian)(nian)(nian)—1227年(nian)(nian)(nian))時(shi)期(qi)，即與(yu)(yu)(yu)(yu)中(zhong)(zhong)(zhong)(zhong)原的(de)(de)(de)(de)(de)(de)(de)宋(song)(song)(song)(song)(song)代(dai)(dai)相(xiang)交錯。在(zai)山(shan)西(xi)省(sheng)繁峙(zhi)縣巖山(shan)寺(si)的(de)(de)(de)(de)(de)(de)(de)經幢(為(wei)(wei)(wei)(wei)“特(te)賜(si)廣濟(ji)大師之(zhi)(zhi)(zhi)塔”)上(shang)，有(you)(you)(you)(you)(you)一(yi)線(xian)刻(ke)樂(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)圖(tu)(tu)(tu)形，一(yi)人(ren)(ren)正盤腿而(er)坐，手持馬(ma)尾(wei)弓(gong)(gong)拉(la)(la)(la)奏(zou)(zou)。有(you)(you)(you)(you)(you)關學者(zhe)認為(wei)(wei)(wei)(wei)，繁峙(zhi)在(zai)元(yuan)代(dai)(dai)之(zhi)(zhi)(zhi)前即為(wei)(wei)(wei)(wei)蒙古管(guan)轄，并(bing)以(yi)(yi)大元(yuan)為(wei)(wei)(wei)(wei)年(nian)(nian)(nian)號，此(ci)經幢為(wei)(wei)(wei)(wei)“大元(yuan)二(er)(er)十三(san)年(nian)(nian)(nian)十月十日(ri)”建成(cheng)(cheng)，即公元(yuan)1236年(nian)(nian)(nian)，也正值(zhi)宋(song)(song)(song)(song)(song)代(dai)(dai)末年(nian)(nian)(nian)。上(shang)述(shu)兩(liang)(liang)處之(zhi)(zhi)(zhi)樂(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)圖(tu)(tu)(tu)像，均與(yu)(yu)(yu)(yu)今(jin)(jin)日(ri)之(zhi)(zhi)(zhi)二(er)(er)胡(hu)(hu)(hu)(hu)維妙維肖。這(zhe)(zhe)種(zhong)用(yong)(yong)馬(ma)尾(wei)弓(gong)(gong)代(dai)(dai)替竹片擦弦(xian)(xian)(xian)(xian)(xian)(xian)發(fa)(fa)(fa)音(yin)的(de)(de)(de)(de)(de)(de)(de)樂(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)，是(shi)(shi)(shi)中(zhong)(zhong)(zhong)(zhong)國北方(fang)(fang)長(chang)期(qi)過著游(you)牧生活(huo)的(de)(de)(de)(de)(de)(de)(de)少數(shu)民族的(de)(de)(de)(de)(de)(de)(de)創造，它(ta)是(shi)(shi)(shi)拉(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)向(xiang)(xiang)前發(fa)(fa)(fa)展(zhan)的(de)(de)(de)(de)(de)(de)(de)一(yi)個(ge)里(li)程(cheng)碑。 南宋(song)(song)(song)(song)(song)之(zhi)(zhi)(zhi)時(shi)，胡(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)類拉(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)開(kai)始(shi)走上(shang)發(fa)(fa)(fa)展(zhan)時(shi)期(qi)。中(zhong)(zhong)(zhong)(zhong)國大批制(zhi)造樂(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)用(yong)(yong)的(de)(de)(de)(de)(de)(de)(de)絲弦(xian)(xian)(xian)(xian)(xian)(xian)，也始(shi)于(yu)南宋(song)(song)(song)(song)(song)遷都臨安(今(jin)(jin)杭州)之(zhi)(zhi)(zhi)際，故(gu)(gu)絲弦(xian)(xian)(xian)(xian)(xian)(xian)有(you)(you)(you)(you)(you)“杭弦(xian)(xian)(xian)(xian)(xian)(xian)”之(zhi)(zhi)(zhi)稱。在(zai)當時(shi)文(wen)人(ren)(ren)的(de)(de)(de)(de)(de)(de)(de)筆記(ji)、小說里(li)也不時(shi)提(ti)及，在(zai)《綠窗(chuang)新(xin)語》中(zhong)(zhong)(zhong)(zhong)的(de)(de)(de)(de)(de)(de)(de)“金彥游(you)春(chun)遇春(chun)娘(niang)”故(gu)(gu)事(shi)里(li)，就(jiu)(jiu)寫(xie)有(you)(you)(you)(you)(you)：“金彥與(yu)(yu)(yu)(yu)何俞出城(cheng)西(xi)游(you)春(chun)，見一(yi)庭院華麗(li)，乃王太尉莊。貫(guan)酒坐閣子上(shang)，彥取二(er)(er)弦(xian)(xian)(xian)(xian)(xian)(xian)軋之(zhi)(zhi)(zhi)，俞取簫管(guan)合(he)(he)奏(zou)(zou)。”這(zhe)(zhe)“二(er)(er)弦(xian)(xian)(xian)(xian)(xian)(xian)”即是(shi)(shi)(shi)與(yu)(yu)(yu)(yu)胡(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)形制(zhi)十分相(xiang)似的(de)(de)(de)(de)(de)(de)(de)拉(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)。 　 明代(dai)(dai)，胡(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)類拉(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)隨著戲(xi)劇(ju)和(he)曲(qu)藝的(de)(de)(de)(de)(de)(de)(de)興起而(er)有(you)(you)(you)(you)(you)所(suo)改進(jin)和(he)發(fa)(fa)(fa)展(zhan)，演(yan)(yan)奏(zou)(zou)形式也多種(zhong)多樣。從明嘉靖元(yuan)年(nian)(nian)(nian)(公元(yuan)1522年(nian)(nian)(nian))尤子求的(de)(de)(de)(de)(de)(de)(de)《麟堂秋宴圖(tu)(tu)(tu)》畫(hua)卷中(zhong)(zhong)(zhong)(zhong)，就(jiu)(jiu)可(ke)以(yi)(yi)看到(dao)一(yi)種(zhong)由(you)胡(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)、簫管(guan)和(he)拍板三(san)種(zhong)樂(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)組成(cheng)(cheng)的(de)(de)(de)(de)(de)(de)(de)合(he)(he)奏(zou)(zou)形式，圖(tu)(tu)(tu)中(zhong)(zhong)(zhong)(zhong)所(suo)繪的(de)(de)(de)(de)(de)(de)(de)胡(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)，是(shi)(shi)(shi)龍首(shou)、卷頸、二(er)(er)弦(xian)(xian)(xian)(xian)(xian)(xian)、馬(ma)尾(wei)弓(gong)(gong)，而(er)且有(you)(you)(you)(you)(you)了(le)用(yong)(yong)以(yi)(yi)固定弦(xian)(xian)(xian)(xian)(xian)(xian)長(chang)的(de)(de)(de)(de)(de)(de)(de)千(qian)斤。這(zhe)(zhe)在(zai)陳(chen)旸《樂(le)(le)(le)(le)(le)(le)(le)書》中(zhong)(zhong)(zhong)(zhong)的(de)(de)(de)(de)(de)(de)(de)胡(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)圖(tu)(tu)(tu)上(shang)是(shi)(shi)(shi)沒有(you)(you)(you)(you)(you)的(de)(de)(de)(de)(de)(de)(de)，但也保留著胡(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)的(de)(de)(de)(de)(de)(de)(de)較短琴(qin)(qin)(qin)(qin)(qin)(qin)筒(tong)、置(zhi)軸方(fang)(fang)向(xiang)(xiang)和(he)拴弦(xian)(xian)(xian)(xian)(xian)(xian)方(fang)(fang)法(fa)。它(ta)較南宋(song)(song)(song)(song)(song)《綠窗(chuang)新(xin)語》中(zhong)(zhong)(zhong)(zhong)的(de)(de)(de)(de)(de)(de)(de)二(er)(er)弦(xian)(xian)(xian)(xian)(xian)(xian)有(you)(you)(you)(you)(you)了(le)較大進(jin)步(bu)，與(yu)(yu)(yu)(yu)今(jin)(jin)日(ri)的(de)(de)(de)(de)(de)(de)(de)朝(chao)(chao)(chao)鮮(xian)(xian)族胡(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)和(he)我(wo)國福建地(di)區流行的(de)(de)(de)(de)(de)(de)(de)南音(yin)二(er)(er)弦(xian)(xian)(xian)(xian)(xian)(xian)已(yi)較為(wei)(wei)(wei)(wei)接近。朝(chao)(chao)(chao)鮮(xian)(xian)音(yin)樂(le)(le)(le)(le)(le)(le)(le)家(jia)成(cheng)(cheng)伣編(bian)朝(chao)(chao)(chao)鮮(xian)(xian)古籍《樂(le)(le)(le)(le)(le)(le)(le)學軌范》(1494年(nian)(nian)(nian)序)中(zhong)(zhong)(zhong)(zhong)載(zai)有(you)(you)(you)(you)(you)：“胡(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)，以(yi)(yi)黜檀花木(刮青(qing)皮)，或(huo)烏竹、海竹弓(gong)(gong)馬(ma)尾(wei)弦(xian)(xian)(xian)(xian)(xian)(xian)，用(yong)(yong)松脂軋之(zhi)(zhi)(zhi)。按用(yong)(yong)左手，軋用(yong)(yong)右手，只奏(zou)(zou)鄉樂(le)(le)(le)(le)(le)(le)(le)。”可(ke)見，胡(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)在(zai)明代(dai)(dai)已(yi)傳入(ru)(ru)朝(chao)(chao)(chao)鮮(xian)(xian)。清代(dai)(dai)，胡(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)用(yong)(yong)于(yu)宮廷的(de)(de)(de)(de)(de)(de)(de)瓦爾(er)喀部(bu)樂(le)(le)(le)(le)(le)(le)(le)和(he)慶(qing)隆樂(le)(le)(le)(le)(le)(le)(le)中(zhong)(zhong)(zhong)(zhong)，而(er)前者(zhe)還要使(shi)用(yong)(yong)四(si)件胡(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)演(yan)(yan)奏(zou)(zou)。據(ju)民間傳說，胡(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)是(shi)(shi)(shi)經東胡(hu)(hu)(hu)(hu)人(ren)(ren)之(zhi)(zhi)(zhi)手傳入(ru)(ru)牡丹江鏡泊湖(hu)一(yi)帶及東鏡城(cheng)等地(di)的(de)(de)(de)(de)(de)(de)(de)。后(hou)來成(cheng)(cheng)為(wei)(wei)(wei)(wei)朝(chao)(chao)(chao)鮮(xian)(xian)族人(ren)(ren)民所(suo)喜愛的(de)(de)(de)(de)(de)(de)(de)拉(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)。

演奏

演奏(zou)(zou)時采用(yong)(yong)(yong)坐姿，將琴(qin)(qin)筒置于(yu)左腿上，左手持琴(qin)(qin)，常用(yong)(yong)(yong)食指(zhi)(zhi)、中指(zhi)(zhi)、無名(ming)指(zhi)(zhi)和小(xiao)指(zhi)(zhi)的(de)第一關節彎曲(qu)處(chu)按弦，右手用(yong)(yong)(yong)五指(zhi)(zhi)握弓(gong)或(huo)(huo)拇指(zhi)(zhi)、食指(zhi)(zhi)、中指(zhi)(zhi)握弓(gong)、在兩(liang)弦間拉奏(zou)(zou)。胡(hu)琴(qin)(qin)一般采用(yong)(yong)(yong)五度音(yin)(yin)程關系定弦，常定弦為A、e或(huo)(huo)c、g，音(yin)(yin)域A—a1或(huo)(huo)c—c2，有(you)兩(liang)個八度。發(fa)音(yin)(yin)柔和、優美，音(yin)(yin)色(se)明(ming)亮、動(dong)聽，接近漢族(zu)的(de)中音(yin)(yin)板胡(hu)。左手按弦為滿手握弦，俗(su)稱勾弦或(huo)(huo)抓弦，少換把位(wei)，有(you)顫音(yin)(yin)、打音(yin)(yin)、滑(hua)音(yin)(yin)等(deng)演奏(zou)(zou)技巧。民(min)間樂手演奏(zou)(zou)時，習慣(guan)不用(yong)(yong)(yong)千斤，用(yong)(yong)(yong)勾、抓弦轉調(diao)。可用(yong)(yong)(yong)于(yu)獨(du)奏(zou)(zou)、合奏(zou)(zou)或(huo)(huo)伴奏(zou)(zou)，是朝鮮族(zu)民(min)族(zu)樂隊中的(de)主要拉弦樂器。擅(shan)長演奏(zou)(zou)曲(qu)調(diao)悠(you)緩的(de)古典(dian)樂曲(qu)或(huo)(huo)旋(xuan)律(lv)歡(huan)快(kuai)的(de)民(min)間樂曲(qu)。較著名(ming)的(de)獨(du)奏(zou)(zou)曲(qu)有(you)：《紡織謠》、《胡(hu)琴(qin)(qin)·散曲(qu)》、《漁夫曲(qu)》和《農夫樂》等(deng)。

改革(ge)胡(hu)琴·四(si)弦(xian)(xian)胡(hu)琴：朝鮮(xian)族(zu)弓拉弦(xian)(xian)鳴樂(le)器(qi)。20世紀60年代，朝鮮(xian)族(zu)胡(hu)琴演奏家李一(yi)男等制作成(cheng)功改革(ge)胡(hu)琴和四(si)弦(xian)(xian)胡(hu)琴，四(si)弦(xian)(xian)胡(hu)琴有高音、中音和低(di)音三(san)種，已用于吉(ji)林(lin)省延(yan)邊朝鮮(xian)族(zu)自治州專(zhuan)業音樂(le)藝術團體中，是朝鮮(xian)族(zu)民族(zu)樂(le)隊(dui)的主要拉弦(xian)(xian)樂(le)器(qi)。

改革胡琴(qin)(qin)(qin)：全長(chang)65厘(li)米。琴(qin)(qin)(qin)筒竹制(zhi)，筒長(chang)13厘(li)米，筒前口蒙以(yi)桐(tong)木面(mian)板，面(mian)徑(jing)9.5厘(li)米。琴(qin)(qin)(qin)桿用烏木、紫檀(tan)或(huo)紅木制(zhi)作，為圓(yuan)形柱(zhu)狀體、琴(qin)(qin)(qin)頭呈彎月形朝前彎曲，桿的上部橫置兩個硬(ying)木制(zhi)弦軸(zhou)(zhou)(zhou)，軸(zhou)(zhou)(zhou)頂呈葫蘆形或(huo)圓(yuan)錐形，軸(zhou)(zhou)(zhou)長(chang)11厘(li)米，軸(zhou)(zhou)(zhou)頭裝有(you)金屬(shu)螺旋(xuan)(又稱直行銅軸(zhou)(zhou)(zhou))可(ke)微(wei)調音高。弦軸(zhou)(zhou)(zhou)下(xia)方設(she)有(you)腰(yao)馬支弦，琴(qin)(qin)(qin)筒下(xia)方增置木制(zhi)底托，使演奏(zou)(zou)中(zhong)琴(qin)(qin)(qin)身(shen)平穩。張兩條鋼絲(si)弦。琴(qin)(qin)(qin)弓(gong)用直桿細竹系以(yi)馬尾(wei)而成，弓(gong)長(chang)80厘(li)。這種改革胡琴(qin)(qin)(qin)，發音明亮(liang)、圓(yuan)潤，音色(se)悠揚(yang)、悅耳，音量也較(jiao)傳統胡琴(qin)(qin)(qin)增大，音域增至三(san)個八度(du)。可(ke)用于(yu)獨(du)奏(zou)(zou)、合奏(zou)(zou)或(huo)伴奏(zou)(zou)，尤以(yi)獨(du)奏(zou)(zou)效果最佳。

四(si)弦(xian)胡(hu)(hu)(hu)琴(qin)：是胡(hu)(hu)(hu)琴(qin)的(de)(de)系列樂器新品(pin)種(zhong)，它包括高(gao)音(yin)(yin)(yin)(yin)(yin)、中(zhong)(zhong)音(yin)(yin)(yin)(yin)(yin)和低音(yin)(yin)(yin)(yin)(yin)胡(hu)(hu)(hu)琴(qin)三(san)種(zhong)。琴(qin)筒(tong)、琴(qin)桿均用(yong)色木(mu)(mu)制作(zuo)，增設了(le)烏木(mu)(mu)指板(ban)。高(gao)音(yin)(yin)(yin)(yin)(yin)四(si)弦(xian)胡(hu)(hu)(hu)琴(qin)按五度(du)關系定弦(xian)為(wei)：g、d1、a1、e2， 音(yin)(yin)(yin)(yin)(yin)域g—c4；中(zhong)(zhong)音(yin)(yin)(yin)(yin)(yin)四(si)弦(xian)胡(hu)(hu)(hu)琴(qin)的(de)(de)定弦(xian)比高(gao)音(yin)(yin)(yin)(yin)(yin)胡(hu)(hu)(hu)琴(qin)低五度(du)，定弦(xian)為(wei)：c、g、d1、a1，音(yin)(yin)(yin)(yin)(yin)域c—a3；低音(yin)(yin)(yin)(yin)(yin)四(si)弦(xian)胡(hu)(hu)(hu)琴(qin)的(de)(de)定弦(xian)比中(zhong)(zhong)音(yin)(yin)(yin)(yin)(yin)胡(hu)(hu)(hu)琴(qin)低八度(du)，定弦(xian)為(wei)：C、G、d、a，音(yin)(yin)(yin)(yin)(yin)域C—c2。這(zhe)套 四(si)弦(xian)胡(hu)(hu)(hu)琴(qin)的(de)(de)總音(yin)(yin)(yin)(yin)(yin)域C—c4，達五個八度(du)。適(shi)于合(he)奏(zou)或伴奏(zou)使用(yong)，已(yi)用(yong)于朝(chao)鮮族(zu)民(min)族(zu)樂隊中(zhong)(zhong)。

奚胡除(chu)在朝鮮(xian)族民間(jian)(jian)流傳外，在內蒙(meng)古自治區東部和遼寧、黑龍江(jiang)等省的蒙(meng)古族民間(jian)(jian)也有流傳。其結構和奏法均與朝鮮(xian)族胡琴近(jin)似，但形制(zhi)(zhi)較小。琴桿(gan)用色(se)木(mu)(mu)或硬雜木(mu)(mu)制(zhi)(zhi)成(cheng)，長50厘米。琴筒用木(mu)(mu)或金屬(shu)制(zhi)(zhi)成(cheng)，筒長10厘米，前口蒙(meng)以桐木(mu)(mu)薄板為面(mian)，面(mian)徑7厘米。弦軸木(mu)(mu)制(zhi)(zhi)，圓錐形。張(zhang)兩條絲(si)弦或腸衣弦。琴弓(gong)用竹片彎成(cheng)弧(hu)形，兩端系以馬尾，弓(gong)長40厘米。五度定弦為g、d1，音(yin)域g—g1，只有一個八度。發音(yin)柔弱，音(yin)色(se)渾厚。但流傳不夠(gou)廣(guang)泛，現僅(jin)個別(bie)民間(jian)(jian)老藝(yi)人還有使用。