芒果视频

歷史淵源

朝(chao)鮮(xian)族(zu)長鼓(gu)起源于(yu)印度細腰鼓(gu)，又名“杖(zhang)鼓(gu)”，歷史曾(ceng)流行于(yu)中原地區。朝(chao)鮮(xian)族(zu)民(min)間(jian)樂器。歷史悠久(jiu)、構造獨(du)特、音色(se)柔和(he)，常用于(yu)歌、舞伴(ban)奏和(he)器樂合奏。

朝(chao)鮮族長鼓起源于印度的細(xi)腰鼓。公元4世紀(ji)時，細(xi)腰鼓通過絲綢之路傳入(ru)我(wo)國中原(yuan)，而(er)后又東傳朝(chao)鮮。

長(chang)鼓(gu)為古代(dai)細腰鼓(gu)的變體。隋(sui)唐時期，我中原稱長(chang)鼓(gu)為“都(dou)曇鼓(gu)”、“毛(mao)員鼓(gu)”和“腰鼓(gu)”，當時雖未有長(chang)鼓(gu)之名，但實際(ji)已用于宮廷九、十部樂的天竺、龜茲、西涼、疏勒、高昌(chang)和高麗諸樂中。宋代(dai)長(chang)鼓(gu)以“杖(zhang)鼓(gu)”之名載入史冊。宋代(dai)《樂書(shu)》：“杖(zhang)鼓(gu)、腰鼓(gu)、漢魏用之。大者(zhe)(zhe)以瓦，小者(zhe)(zhe)以木類，皆廣首(shou)纖腹。”沈括《夢溪筆談》：“唐之杖(zhang)鼓(gu)，本謂之‘兩(liang)(liang)杖(zhang)鼓(gu)’，兩(liang)(liang)頭(tou)皆用杖(zhang)。今日杖(zhang)鼓(gu)，一頭(tou)以手拊(fu)之”。

隋唐時期，我中原(yuan)稱長鼓(gu)(gu)(gu)為“都曇(tan)鼓(gu)(gu)(gu)”、“毛員鼓(gu)(gu)(gu)”和“腰鼓(gu)(gu)(gu)”，當時雖未有長鼓(gu)(gu)(gu)之(zhi)(zhi)名(ming)(ming)，但實際(ji)已用于九、十部樂的天竺、龜(gui)茲(zi)、西涼、疏勒、高昌和高麗諸樂。宋代(dai)長鼓(gu)(gu)(gu)以“杖鼓(gu)(gu)(gu)”之(zhi)(zhi)名(ming)(ming)載入史冊。

到了元(yuan)代，《元(yuan)史·宴樂(le)之器》對杖鼓(gu)記載尤詳。《元(yuan)史·禮樂(le)志(zhi)》：“杖鼓(gu)，制以木為(wei)匡，細(xi)腰，以皮冒之，上施五彩繡(xiu)帶(dai)，右擊(ji)以杖，左拍以手(shou)”。

藝術特色

朝鮮族長鼓(gu)(gu)(gu)(gu)為(wei)兩面鼓(gu)(gu)(gu)(gu)，其兩端(duan)音高不(bu)同(tong)(tong)(tong)，女性長鼓(gu)(gu)(gu)(gu)舞(wu)(wu)風格優雅(ya)，男性長鼓(gu)(gu)(gu)(gu)舞(wu)(wu)活(huo)潑瀟灑(sa)。現代長鼓(gu)(gu)(gu)(gu)舞(wu)(wu)有兩種擊(ji)打法(fa)：一(yi)為(wei)舞(wu)(wu)者用(yong)(yong)鼓(gu)(gu)(gu)(gu)鞭(bian)(bian)(bian)（一(yi)尺許細長的竹鞭(bian)(bian)(bian)）兼用(yong)(yong)鼓(gu)(gu)(gu)(gu)槌（一(yi)端(duan)圓粗，長約(yue)尺許的木(mu)槌）；一(yi)為(wei)只(zhi)用(yong)(yong)鼓(gu)(gu)(gu)(gu)鞭(bian)(bian)(bian)不(bu)用(yong)(yong)鼓(gu)(gu)(gu)(gu)槌。前者開頭只(zhi)用(yong)(yong)鼓(gu)(gu)(gu)(gu)鞭(bian)(bian)(bian)按慢(man)鞭(bian)(bian)(bian)拍(pai)子邊(bian)擊(ji)邊(bian)舞(wu)(wu)，鼓(gu)(gu)(gu)(gu)插在長鼓(gu)(gu)(gu)(gu)上，舞(wu)(wu)至高潮時，方(fang)抽出鼓(gu)(gu)(gu)(gu)槌進行技巧表(biao)演。后(hou)者春持(chi)鼓(gu)(gu)(gu)(gu)鞭(bian)(bian)(bian)隨樂起舞(wu)(wu)。長鼓(gu)(gu)(gu)(gu)的表(biao)演，以柔(rou)軟的扛手(shou)(shou)、伸肩、鵲雀步(bu)等(deng)動作為(wei)主，以肩挎長鼓(gu)(gu)(gu)(gu)，右手(shou)(shou)持(chi)鼓(gu)(gu)(gu)(gu)鞭(bian)(bian)(bian)，邊(bian)跳邊(bian)敲(qiao)鼓(gu)(gu)(gu)(gu)的形式表(biao)演，身、鼓(gu)(gu)(gu)(gu)、神融為(wei)一(yi)體，高度協調統一(yi)。長鼓(gu)(gu)(gu)(gu)兩面具(ju)有不(bu)同(tong)(tong)(tong)的音高。舞(wu)(wu)蹈時，右手(shou)(shou)用(yong)(yong)鼓(gu)(gu)(gu)(gu)鞭(bian)(bian)(bian)敲(qiao)打高音鼓(gu)(gu)(gu)(gu)面，左手(shou)(shou)拍(pai)打低音鼓(gu)(gu)(gu)(gu)面。由于音高不(bu)同(tong)(tong)(tong)，節奏不(bu)同(tong)(tong)(tong)，變化(hua)多端(duan)的鼓(gu)(gu)(gu)(gu)點(dian)和著優美的舞(wu)(wu)姿，令人賞心悅(yue)目、興奮(fen)異常。長鼓(gu)(gu)(gu)(gu)舞(wu)(wu)通(tong)常由慢(man)板起拍(pai)，節奏逐漸加(jia)快(kuai)，最后(hou)嘎然停止。

其舞蹈(dao)(dao)形(xing)式有獨舞、雙(shuang)人(ren)舞、群舞等多(duo)種(zhong)。建國(guo)后，長(chang)鼓舞經朝鮮族舞蹈(dao)(dao)家們的(de)精(jing)心改編，增添了新的(de)時代氣息和(he)民(min)族特色(se)，使這一藝(yi)術形(xing)式日趨完善。 [4]

長(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)為(wei)朝(chao)鮮民族音樂的主(zhu)要打擊樂器(qi)。中國和朝(chao)鮮的古(gu)代(dai)史料還(huan)將長(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)以“細腰鼓(gu)(gu)(gu)(gu)”、“杖鼓(gu)(gu)(gu)(gu)”等(deng)(deng)稱(cheng)(cheng)謂載入史冊。長(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)在(zai)朝(chao)鮮族音樂和舞(wu)(wu)蹈(dao)中起(qi)(qi)(qi)(qi)重(zhong)要作(zuo)用。長(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)分為(wei)長(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)、舞(wu)(wu)蹈(dao)長(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)等(deng)(deng)幾種。形狀是兩頭粗、中間細，左(zuo)邊(bian)鼓(gu)(gu)(gu)(gu)筒直徑比右邊(bian)鼓(gu)(gu)(gu)(gu)筒直徑長(chang)(chang)(chang)1厘米(mi)，右邊(bian)鼓(gu)(gu)(gu)(gu)皮(pi)薄，左(zuo)邊(bian)鼓(gu)(gu)(gu)(gu)皮(pi)厚(hou)。長(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)的右邊(bian)用一(yi)根(gen)飾彩(cai)穗的竹條(tiao)敲(qiao)，左(zuo)邊(bian)用手(shou)，右邊(bian)聲(sheng)高(gao)左(zuo)邊(bian)聲(sheng)低，能敲(qiao)擊出(chu)豐(feng)富多彩(cai)的節奏。長(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)舞(wu)(wu)則脫(tuo)胎于傳統的“農樂舞(wu)(wu)”，長(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)作(zuo)為(wei)民間打擊樂器(qi)，在(zai)農樂舞(wu)(wu)隊里由(you)(you)長(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)手(shou)擊打，起(qi)(qi)(qi)(qi)伴(ban)奏和渲染氣氛的作(zuo)用。當(dang)情緒(xu)高(gao)昂時，長(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)手(shou)常常隨著眾人(ren)(ren)一(yi)同起(qi)(qi)(qi)(qi)舞(wu)(wu)，在(zai)起(qi)(qi)(qi)(qi)舞(wu)(wu)時側重(zhong)于擊鼓(gu)(gu)(gu)(gu)的形體動作(zuo)，逐步創(chuang)作(zuo)出(chu)挎(kua)跳“大蹦子”等(deng)(deng)技巧，由(you)(you)此被稱(cheng)(cheng)為(wei)“長(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)演戲”。后經歷代(dai)藝(yi)人(ren)(ren)改進(jin)，長(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)舞(wu)(wu)在(zai)20世紀初期以獨(du)立的表演形式從農樂舞(wu)(wu)里脫(tuo)穎(ying)而出(chu)。

傳承保護

近(jin)百(bai)余年(nian)來(lai)，杖鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)在我國中原(yuan)逐漸消聲匿跡，而(er)在朝鮮族(zu)人(ren)民(min)中廣(guang)為(wei)(wei)流傳，遂改名為(wei)(wei)長(chang)(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)。長(chang)(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)作(zuo)(zuo)為(wei)(wei)民(min)間打擊(ji)樂器，在農(nong)(nong)樂舞(wu)(wu)(wu)隊里(li)由長(chang)(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)手(shou)擊(ji)打，起(qi)(qi)伴奏和(he)渲染氣氛的作(zuo)(zuo)用，當情緒高昂時，長(chang)(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)手(shou)常(chang)常(chang)隨(sui)著眾(zhong)人(ren)一起(qi)(qi)翩(pian)翩(pian)起(qi)(qi)舞(wu)(wu)(wu)，因其身前挎著長(chang)(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)，故(gu)在起(qi)(qi)舞(wu)(wu)(wu)時側重(zhong)于擊(ji)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)的形體動作(zuo)(zuo)，逐步創(chuang)作(zuo)(zuo)出挎跳“大蹦子(zi)”等技(ji)巧，由此而(er)被稱為(wei)(wei)“長(chang)(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)演戲”。后經歷代(dai)藝人(ren)創(chuang)造豐(feng)富，長(chang)(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)舞(wu)(wu)(wu)便在20世(shi)(shi)紀(ji)初期，以獨(du)(du)立的表演形式從(cong)農(nong)(nong)樂舞(wu)(wu)(wu)里(li)脫穎而(er)出。每逢(feng)佳節之日，民(min)間常(chang)出現跳長(chang)(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)舞(wu)(wu)(wu)者(zhe)，深受群(qun)眾(zhong)歡迎。延邊(bian)歌舞(wu)(wu)(wu)團(tuan)從(cong)20世(shi)(shi)紀(ji)50年(nian)代(dai)初開(kai)始將長(chang)(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)舞(wu)(wu)(wu)搬(ban)上(shang)(shang)舞(wu)(wu)(wu)臺，從(cong)而(er)擴(kuo)大了長(chang)(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)舞(wu)(wu)(wu)的影響，60年(nian)代(dai)又(you)在獨(du)(du)舞(wu)(wu)(wu)的基礎上(shang)(shang)，創(chuang)作(zuo)(zuo)出長(chang)(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)的群(qun)舞(wu)(wu)(wu)表演。長(chang)(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)舞(wu)(wu)(wu)不僅(jin)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)技(ji)驚人(ren)，花(hua)樣翻(fan)新，亦在于表達喜悅、歡快的情緒，以優美的舞(wu)(wu)(wu)姿和(he)嫻熟(shu)的鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)技(ji)給人(ren)美好的藝術享受。