芒果视频

簡介

胡(hu)琴(qin)，又稱鄉胡(hu)、稽(同奚)琴(qin)。歷史悠久、形(xing)制古樸(pu)。發音柔美，音色動聽(ting)。可用(yong)(yong)于獨奏(zou)、合奏(zou)或為歌舞伴奏(zou)。流行(xing)于遼寧(ning)、吉(ji)林(lin)、黑龍江等省，尤以(yi)吉(ji)林(lin)省延(yan)邊朝(chao)(chao)鮮(xian)族自治(zhi)州(zhou)盛行(xing)。流行(xing)于吉(ji)林(lin)省延(yan)邊朝(chao)(chao)鮮(xian)族自治(zhi)州(zhou)。 唐(tang)宋時期的胡(hu)琴(qin)曾傳(chuan)入朝(chao)(chao)鮮(xian)。朝(chao)(chao)鮮(xian)成伣編《樂學軌范》（有1494年序）載：“……以(yi)黜檀花木（刮青皮）或烏(wu)竹海竹弓馬(ma)尾弦，用(yong)(yong)松脂軋之。按用(yong)(yong)左手，軋用(yong)(yong)右手，只奏(zou)鄉樂”。

現代(dai)(dai)(dai)(dai)胡(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)，全長(chang)60厘(li)米。琴(qin)(qin)(qin)(qin)(qin)(qin)筒木或竹制，有半圓球形和長(chang)筒形兩(liang)(liang)種(zhong)。前(qian)口(kou)蒙桐(tong)木薄板(ban)。琴(qin)(qin)(qin)(qin)(qin)(qin)桿木制，琴(qin)(qin)(qin)(qin)(qin)(qin)頭呈彎月狀(zhuang)、無飾，兩(liang)(liang)軸(zhou)置(zhi)于(yu)(yu)琴(qin)(qin)(qin)(qin)(qin)(qin)桿上(shang)部右側、與琴(qin)(qin)(qin)(qin)(qin)(qin)筒呈平行，軸(zhou)頂旋成(cheng)葫蘆形。張兩(liang)(liang)條絲(si)弦(xian)或鋼絲(si)弦(xian)。五度定弦(xian)A、e，音域 A—a1。 遠在(zai)(zai)(zai)古代(dai)(dai)(dai)(dai)，中(zhong)原(yuan)的(de)(de)(de)(de)漢族(zu)(zu)人(ren)民(min)，把居住(zhu)在(zai)(zai)(zai)北(bei)方(fang)和西北(bei)方(fang)的(de)(de)(de)(de)少數(shu)民(min)族(zu)(zu)統稱(cheng)(cheng)為(wei)(wei)胡(hu)，對(dui)他(ta)們所(suo)用(yong)的(de)(de)(de)(de)樂(le)器(qi)、音樂(le)以(yi)(yi)(yi)(yi)及服飾等，也都冠以(yi)(yi)(yi)(yi)胡(hu)字。《后(hou)漢書(shu)(shu)·五行志》中(zhong)有：“靈帝好胡(hu)服、……胡(hu)箜篌、胡(hu)笛、胡(hu)舞，……”。漢劉熙《釋(shi)名》載(zai)：“批(pi)把本(ben)出于(yu)(yu)胡(hu)中(zhong)”之(zhi)句，琵(pi)琶(pa)以(yi)(yi)(yi)(yi)出胡(hu)中(zhong)，而(er)名胡(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)。唐(tang)(tang)(tang)初(chu)四川射洪(hong)大詩(shi)人(ren)陳子昂，曾(ceng)以(yi)(yi)(yi)(yi)千金(jin)買一(yi)(yi)胡(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)，即是(shi)(shi)(shi)琵(pi)琶(pa)，直至(zhi)唐(tang)(tang)(tang)宋(song)之(zhi)時(shi)(shi)(shi)(shi)，對(dui)琵(pi)琶(pa)、忽雷等彈弦(xian)樂(le)器(qi)，還稱(cheng)(cheng)之(zhi)為(wei)(wei)胡(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)。 胡(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)是(shi)(shi)(shi)中(zhong)國(guo)古代(dai)(dai)(dai)(dai)北(bei)方(fang)、西北(bei)方(fang)少數(shu)民(min)族(zu)(zu)所(suo)用(yong)樂(le)器(qi)的(de)(de)(de)(de)統稱(cheng)(cheng)，近代(dai)(dai)(dai)(dai)才作為(wei)(wei)胡(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)類拉弦(xian)樂(le)器(qi)的(de)(de)(de)(de)專(zhuan)稱(cheng)(cheng)。胡(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)始于(yu)(yu)唐(tang)(tang)(tang)代(dai)(dai)(dai)(dai)。在(zai)(zai)(zai)宋(song)代(dai)(dai)(dai)(dai)音樂(le)理(li)論家陳旸于(yu)(yu)公元1099年(nian)(nian)所(suo)著(zhu)的(de)(de)(de)(de)《樂(le)書(shu)(shu)》(卷一(yi)(yi)二八)中(zhong)載(zai)有：“胡(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)本(ben)胡(hu)樂(le)也，出于(yu)(yu)弦(xian)鼗而(er)形亦類焉，奚(xi)(xi)(xi)部所(suo)好之(zhi)樂(le)也。蓋其制，兩(liang)(liang)弦(xian)間(jian)以(yi)(yi)(yi)(yi)竹片軋之(zhi)，至(zhi)今民(min)間(jian)用(yong)焉。”據(ju)書(shu)(shu)中(zhong)所(suo)示(shi)，兩(liang)(liang)弦(xian)軸(zhou)的(de)(de)(de)(de)裝置(zhi)方(fang)向(xiang)與今日二胡(hu)相(xiang)(xiang)反，不用(yong)千斤。奚(xi)(xi)(xi)族(zu)(zu)在(zai)(zai)(zai)南北(bei)朝(chao)時(shi)(shi)(shi)(shi)稱(cheng)(cheng)庫莫奚(xi)(xi)(xi)，居住(zhu)在(zai)(zai)(zai)我(wo)國(guo)東北(bei)地(di)區的(de)(de)(de)(de)西拉木倫河(he)流(liu)域，唐(tang)(tang)(tang)末之(zhi)時(shi)(shi)(shi)(shi)，一(yi)(yi)部分奚(xi)(xi)(xi)人(ren)西徙媯州(今河(he)北(bei)省(sheng)懷來(lai)縣(xian))，別稱(cheng)(cheng)西奚(xi)(xi)(xi)，五代(dai)(dai)(dai)(dai)十國(guo)時(shi)(shi)(shi)(shi)，東、西奚(xi)(xi)(xi)漸(jian)與契(qi)丹人(ren)相(xiang)(xiang)融合。據(ju)陳旸所(suo)考，胡(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)當(dang)為(wei)(wei)唐(tang)(tang)(tang)代(dai)(dai)(dai)(dai)末年(nian)(nian)我(wo)國(guo)北(bei)方(fang)西奚(xi)(xi)(xi)所(suo)用(yong)的(de)(de)(de)(de)一(yi)(yi)種(zhong)樂(le)器(qi)。它是(shi)(shi)(shi)在(zai)(zai)(zai)古代(dai)(dai)(dai)(dai)彈弦(xian)樂(le)器(qi)弦(xian)鼗的(de)(de)(de)(de)基礎上(shang)衍變發展而(er)成(cheng)的(de)(de)(de)(de)，其演奏方(fang)法與軋箏(zheng)相(xiang)(xiang)似，完全是(shi)(shi)(shi)受到唐(tang)(tang)(tang)初(chu)漢族(zu)(zu)軋箏(zheng)的(de)(de)(de)(de)影響所(suo)致，不同之(zhi)處(chu)(chu)是(shi)(shi)(shi)胡(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)只有兩(liang)(liang)條琴(qin)(qin)(qin)(qin)(qin)(qin)弦(xian)，軋時(shi)(shi)(shi)(shi)竹片不在(zai)(zai)(zai)弦(xian)的(de)(de)(de)(de)上(shang)(外)面而(er)處(chu)(chu)于(yu)(yu)兩(liang)(liang)弦(xian)之(zhi)間(jian)。

歷史

胡琴(qin)在唐宋時期，既是(shi)(shi)拉弦(xian)、又是(shi)(shi)彈弦(xian)樂器，兩種演(yan)奏方法兼而有(you)(you)之(zhi)。與陳旸(yang)同一時代(dai)的(de)北宋文人(ren)(ren)歐陽修(xiu)，在他的(de)《試院聞(wen)胡琴(qin)作》一詩(shi)中寫道：“胡琴(qin)本出胡人(ren)(ren)樂，奚(xi)奴彈之(zhi)雙淚落(luo)”。演(yan)奏方法則是(shi)(shi)彈撥，沒(mei)有(you)(you)“用竹(zhu)片軋之(zhi)”的(de)含意。在另一首詩(shi)中有(you)(you)著頗(po)為(wei)詳盡的(de)記載：“奚(xi)人(ren)(ren)作琴(qin)便(bian)馬上，弦(xian)以雙繭絕清(qing)壯。高堂一聽風雪寒，坐客低回為(wei)凄愴。深入洞簫抗如歌，眾音疑是(shi)(shi)此(ci)多，可憐(lian)繁手無斷續，誰道絲聲不如竹(zhu)。”這里顯(xian)然描寫的(de)是(shi)(shi)兩弦(xian)彈撥樂器胡琴(qin)。可見，唐宋兩代(dai)，胡琴(qin)正處于由彈弦(xian)樂器向拉弦(xian)樂器過渡的(de)時期。

宋(song)(song)代(dai)(dai)(dai)的(de)(de)(de)(de)(de)胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)又稱(cheng)稽(ji)琴(qin)(qin)(qin)(qin)(qin)。宋(song)(song)代(dai)(dai)(dai)高承公(gong)(gong)元(yuan)(yuan)1080年(nian)撰輯的(de)(de)(de)(de)(de)《事(shi)物(wu)紀(ji)原》中(zhong)(zhong)(zhong)有(you)(you)(you)(you)：“杜摯賦序曰：秦末(mo)人(ren)(ren)苦(ku)長(chang)城(cheng)之(zhi)(zhi)役，弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)鼗而(er)(er)鼓之(zhi)(zhi)，記(ji)(ji)以(yi)為(wei)(wei)(wei)琵琶之(zhi)(zhi)始。按鼗如鼓而(er)(er)小(xiao)，有(you)(you)(you)(you)柄(bing)(bing)，長(chang)尺(chi)余。然則(ze)擊弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)于(yu)鼓首(shou)而(er)(er)屬之(zhi)(zhi)于(yu)柄(bing)(bing)末(mo)，與琵琶極不(bu)仿佛，其(qi)狀(zhuang)今(jin)稽(ji)琴(qin)(qin)(qin)(qin)(qin)也(ye)(ye)。是(shi)(shi)(shi)(shi)稽(ji)康琴(qin)(qin)(qin)(qin)(qin)為(wei)(wei)(wei)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)鼗遺象明(ming)矣。”照此(ci)記(ji)(ji)述(shu)，稽(ji)琴(qin)(qin)(qin)(qin)(qin)在北宋(song)(song)之(zhi)(zhi)時，仍(reng)靠彈撥琴(qin)(qin)(qin)(qin)(qin)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)來發(fa)(fa)(fa)音(yin)，而(er)(er)不(bu)是(shi)(shi)(shi)(shi)軋(ya)(ya)(ya)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)發(fa)(fa)(fa)音(yin)的(de)(de)(de)(de)(de)拉(la)(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)。在宋(song)(song)代(dai)(dai)(dai)陳元(yuan)(yuan)靚《事(shi)林廣記(ji)(ji)》(卷(juan)(juan)八(ba))中(zhong)(zhong)(zhong)，則(ze)明(ming)確(que)地記(ji)(ji)載著稽(ji)琴(qin)(qin)(qin)(qin)(qin)是(shi)(shi)(shi)(shi)拉(la)(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)。文(wen)中(zhong)(zhong)(zhong)說(shuo)(shuo)(shuo)：“稽(ji)琴(qin)(qin)(qin)(qin)(qin)本(ben)稽(ji)康所(suo)制，故(gu)名稽(ji)琴(qin)(qin)(qin)(qin)(qin)。二(er)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)，以(yi)竹片軋(ya)(ya)(ya)之(zhi)(zhi)，其(qi)聲清亮。”把(ba)稽(ji)琴(qin)(qin)(qin)(qin)(qin)歸于(yu)公(gong)(gong)元(yuan)(yuan)3世(shi)紀(ji)的(de)(de)(de)(de)(de)稽(ji)康所(suo)制，顯然是(shi)(shi)(shi)(shi)偽托古人(ren)(ren)的(de)(de)(de)(de)(de)一(yi)種(zhong)附會，這可能是(shi)(shi)(shi)(shi)陳氏效其(qi)“阮咸造阮”之(zhi)(zhi)說(shuo)(shuo)(shuo)吧。同是(shi)(shi)(shi)(shi)宋(song)(song)人(ren)(ren)，又同是(shi)(shi)(shi)(shi)記(ji)(ji)述(shu)稽(ji)琴(qin)(qin)(qin)(qin)(qin)，卻記(ji)(ji)載著兩種(zhong)不(bu)同的(de)(de)(de)(de)(de)演(yan)(yan)奏(zou)(zou)(zou)(zou)方(fang)法。這充分(fen)說(shuo)(shuo)(shuo)明(ming)，宋(song)(song)代(dai)(dai)(dai)稽(ji)琴(qin)(qin)(qin)(qin)(qin)仍(reng)處于(yu)由(you)彈弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)向拉(la)(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)的(de)(de)(de)(de)(de)過(guo)渡階段(duan)。 　 宋(song)(song)代(dai)(dai)(dai)晚(wan)期(qi)(qi)，中(zhong)(zhong)(zhong)國(guo)北部(bu)邊疆地區已經(jing)(jing)開始使(shi)用(yong)以(yi)馬(ma)尾(wei)作為(wei)(wei)(wei)弓(gong)(gong)毛拉(la)(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)擦奏(zou)(zou)(zou)(zou)的(de)(de)(de)(de)(de)樂(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)了。在陜西榆林石窟第十窟的(de)(de)(de)(de)(de)壁畫中(zhong)(zhong)(zhong)，畫有(you)(you)(you)(you)一(yi)飛天用(yong)馬(ma)尾(wei)弓(gong)(gong)拉(la)(la)(la)(la)奏(zou)(zou)(zou)(zou)卷(juan)(juan)首(shou)、二(er)軫、二(er)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)、圓(yuan)筒形(xing)(xing)琴(qin)(qin)(qin)(qin)(qin)筒的(de)(de)(de)(de)(de)樂(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)。此(ci)窟年(nian)代(dai)(dai)(dai)約當西夏(xia)(公(gong)(gong)元(yuan)(yuan)1038年(nian)—1227年(nian))時期(qi)(qi)，即與中(zhong)(zhong)(zhong)原的(de)(de)(de)(de)(de)宋(song)(song)代(dai)(dai)(dai)相交錯(cuo)。在山西省繁峙(zhi)縣巖(yan)山寺的(de)(de)(de)(de)(de)經(jing)(jing)幢(為(wei)(wei)(wei)“特賜廣濟大(da)師(shi)之(zhi)(zhi)塔”)上(shang)，有(you)(you)(you)(you)一(yi)線刻(ke)樂(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)圖(tu)(tu)形(xing)(xing)，一(yi)人(ren)(ren)正盤(pan)腿而(er)(er)坐，手持馬(ma)尾(wei)弓(gong)(gong)拉(la)(la)(la)(la)奏(zou)(zou)(zou)(zou)。有(you)(you)(you)(you)關(guan)學者(zhe)認為(wei)(wei)(wei)，繁峙(zhi)在元(yuan)(yuan)代(dai)(dai)(dai)之(zhi)(zhi)前即為(wei)(wei)(wei)蒙古管轄，并以(yi)大(da)元(yuan)(yuan)為(wei)(wei)(wei)年(nian)號，此(ci)經(jing)(jing)幢為(wei)(wei)(wei)“大(da)元(yuan)(yuan)二(er)十三年(nian)十月十日(ri)”建(jian)成(cheng)，即公(gong)(gong)元(yuan)(yuan)1236年(nian)，也(ye)(ye)正值宋(song)(song)代(dai)(dai)(dai)末(mo)年(nian)。上(shang)述(shu)兩處之(zhi)(zhi)樂(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)圖(tu)(tu)像(xiang)，均與今(jin)日(ri)之(zhi)(zhi)二(er)胡(hu)(hu)(hu)(hu)(hu)(hu)維妙(miao)維肖(xiao)。這種(zhong)用(yong)馬(ma)尾(wei)弓(gong)(gong)代(dai)(dai)(dai)替(ti)竹片擦弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)發(fa)(fa)(fa)音(yin)的(de)(de)(de)(de)(de)樂(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)，是(shi)(shi)(shi)(shi)中(zhong)(zhong)(zhong)國(guo)北方(fang)長(chang)期(qi)(qi)過(guo)著游牧生活的(de)(de)(de)(de)(de)少(shao)數民(min)族(zu)的(de)(de)(de)(de)(de)創造，它是(shi)(shi)(shi)(shi)拉(la)(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)向前發(fa)(fa)(fa)展(zhan)的(de)(de)(de)(de)(de)一(yi)個里(li)程碑。 南(nan)宋(song)(song)之(zhi)(zhi)時，胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)類拉(la)(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)開始走(zou)上(shang)發(fa)(fa)(fa)展(zhan)時期(qi)(qi)。中(zhong)(zhong)(zhong)國(guo)大(da)批制造樂(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)用(yong)的(de)(de)(de)(de)(de)絲弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)，也(ye)(ye)始于(yu)南(nan)宋(song)(song)遷都臨安(今(jin)杭(hang)州)之(zhi)(zhi)際，故(gu)絲弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)有(you)(you)(you)(you)“杭(hang)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)”之(zhi)(zhi)稱(cheng)。在當時文(wen)人(ren)(ren)的(de)(de)(de)(de)(de)筆記(ji)(ji)、小(xiao)說(shuo)(shuo)(shuo)里(li)也(ye)(ye)不(bu)時提及，在《綠窗(chuang)新語》中(zhong)(zhong)(zhong)的(de)(de)(de)(de)(de)“金彥游春遇(yu)春娘(niang)”故(gu)事(shi)里(li)，就寫有(you)(you)(you)(you)：“金彥與何俞出(chu)城(cheng)西游春，見一(yi)庭院華麗，乃王太(tai)尉(wei)莊。貫酒(jiu)坐閣子上(shang)，彥取二(er)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)軋(ya)(ya)(ya)之(zhi)(zhi)，俞取簫管合奏(zou)(zou)(zou)(zou)。”這“二(er)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)”即是(shi)(shi)(shi)(shi)與胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)形(xing)(xing)制十分(fen)相似的(de)(de)(de)(de)(de)拉(la)(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)。 　 明(ming)代(dai)(dai)(dai)，胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)類拉(la)(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)隨著戲劇和(he)(he)(he)曲藝的(de)(de)(de)(de)(de)興起而(er)(er)有(you)(you)(you)(you)所(suo)改(gai)進和(he)(he)(he)發(fa)(fa)(fa)展(zhan)，演(yan)(yan)奏(zou)(zou)(zou)(zou)形(xing)(xing)式也(ye)(ye)多(duo)種(zhong)多(duo)樣。從明(ming)嘉靖元(yuan)(yuan)年(nian)(公(gong)(gong)元(yuan)(yuan)1522年(nian))尤子求的(de)(de)(de)(de)(de)《麟堂秋宴圖(tu)(tu)》畫卷(juan)(juan)中(zhong)(zhong)(zhong)，就可以(yi)看(kan)到一(yi)種(zhong)由(you)胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)、簫管和(he)(he)(he)拍板三種(zhong)樂(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)組成(cheng)的(de)(de)(de)(de)(de)合奏(zou)(zou)(zou)(zou)形(xing)(xing)式，圖(tu)(tu)中(zhong)(zhong)(zhong)所(suo)繪的(de)(de)(de)(de)(de)胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)，是(shi)(shi)(shi)(shi)龍首(shou)、卷(juan)(juan)頸、二(er)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)、馬(ma)尾(wei)弓(gong)(gong)，而(er)(er)且有(you)(you)(you)(you)了用(yong)以(yi)固(gu)定弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)長(chang)的(de)(de)(de)(de)(de)千斤。這在陳旸《樂(le)(le)(le)(le)(le)(le)書》中(zhong)(zhong)(zhong)的(de)(de)(de)(de)(de)胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)圖(tu)(tu)上(shang)是(shi)(shi)(shi)(shi)沒有(you)(you)(you)(you)的(de)(de)(de)(de)(de)，但(dan)也(ye)(ye)保留著胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)的(de)(de)(de)(de)(de)較(jiao)短琴(qin)(qin)(qin)(qin)(qin)筒、置軸方(fang)向和(he)(he)(he)拴弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)方(fang)法。它較(jiao)南(nan)宋(song)(song)《綠窗(chuang)新語》中(zhong)(zhong)(zhong)的(de)(de)(de)(de)(de)二(er)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)有(you)(you)(you)(you)了較(jiao)大(da)進步，與今(jin)日(ri)的(de)(de)(de)(de)(de)朝(chao)(chao)(chao)鮮(xian)族(zu)胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)和(he)(he)(he)我國(guo)福建(jian)地區流行(xing)的(de)(de)(de)(de)(de)南(nan)音(yin)二(er)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)已較(jiao)為(wei)(wei)(wei)接近。朝(chao)(chao)(chao)鮮(xian)音(yin)樂(le)(le)(le)(le)(le)(le)家成(cheng)伣編(bian)朝(chao)(chao)(chao)鮮(xian)古籍(ji)《樂(le)(le)(le)(le)(le)(le)學軌范》(1494年(nian)序)中(zhong)(zhong)(zhong)載有(you)(you)(you)(you)：“胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)，以(yi)黜(chu)檀(tan)花木(mu)(刮青皮)，或烏竹、海竹弓(gong)(gong)馬(ma)尾(wei)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)，用(yong)松脂軋(ya)(ya)(ya)之(zhi)(zhi)。按用(yong)左手，軋(ya)(ya)(ya)用(yong)右手，只奏(zou)(zou)(zou)(zou)鄉樂(le)(le)(le)(le)(le)(le)。”可見，胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)在明(ming)代(dai)(dai)(dai)已傳(chuan)入朝(chao)(chao)(chao)鮮(xian)。清代(dai)(dai)(dai)，胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)用(yong)于(yu)宮廷的(de)(de)(de)(de)(de)瓦爾(er)喀部(bu)樂(le)(le)(le)(le)(le)(le)和(he)(he)(he)慶隆樂(le)(le)(le)(le)(le)(le)中(zhong)(zhong)(zhong)，而(er)(er)前者(zhe)還要使(shi)用(yong)四件胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)演(yan)(yan)奏(zou)(zou)(zou)(zou)。據民(min)間(jian)傳(chuan)說(shuo)(shuo)(shuo)，胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)是(shi)(shi)(shi)(shi)經(jing)(jing)東(dong)胡(hu)(hu)(hu)(hu)(hu)(hu)人(ren)(ren)之(zhi)(zhi)手傳(chuan)入牡丹江鏡(jing)泊湖(hu)一(yi)帶及東(dong)鏡(jing)城(cheng)等(deng)地的(de)(de)(de)(de)(de)。后來成(cheng)為(wei)(wei)(wei)朝(chao)(chao)(chao)鮮(xian)族(zu)人(ren)(ren)民(min)所(suo)喜(xi)愛的(de)(de)(de)(de)(de)拉(la)(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)。

演奏

演奏(zou)時采(cai)用(yong)坐(zuo)姿(zi)，將琴(qin)筒置于(yu)左(zuo)腿上(shang)，左(zuo)手(shou)(shou)持琴(qin)，常用(yong)食(shi)指(zhi)、中(zhong)指(zhi)、無(wu)名(ming)指(zhi)和小指(zhi)的(de)(de)第一(yi)關節彎曲(qu)處按(an)弦(xian)，右手(shou)(shou)用(yong)五指(zhi)握(wo)弓或拇指(zhi)、食(shi)指(zhi)、中(zhong)指(zhi)握(wo)弓、在兩弦(xian)間(jian)(jian)拉(la)奏(zou)。胡(hu)(hu)琴(qin)一(yi)般采(cai)用(yong)五度(du)(du)音(yin)(yin)程關系(xi)定弦(xian)，常定弦(xian)為(wei)A、e或c、g，音(yin)(yin)域(yu)A—a1或c—c2，有(you)兩個八度(du)(du)。發(fa)音(yin)(yin)柔(rou)和、優美(mei)，音(yin)(yin)色明亮、動聽，接近漢族的(de)(de)中(zhong)音(yin)(yin)板胡(hu)(hu)。左(zuo)手(shou)(shou)按(an)弦(xian)為(wei)滿手(shou)(shou)握(wo)弦(xian)，俗稱(cheng)勾(gou)弦(xian)或抓弦(xian)，少(shao)換把位，有(you)顫音(yin)(yin)、打音(yin)(yin)、滑音(yin)(yin)等演奏(zou)技巧。民間(jian)(jian)樂手(shou)(shou)演奏(zou)時，習慣不用(yong)千斤(jin)，用(yong)勾(gou)、抓弦(xian)轉調。可(ke)用(yong)于(yu)獨(du)奏(zou)、合(he)奏(zou)或伴奏(zou)，是朝鮮族民族樂隊中(zhong)的(de)(de)主要拉(la)弦(xian)樂器(qi)。擅長演奏(zou)曲(qu)調悠緩的(de)(de)古(gu)典樂曲(qu)或旋律(lv)歡快的(de)(de)民間(jian)(jian)樂曲(qu)。較著名(ming)的(de)(de)獨(du)奏(zou)曲(qu)有(you)：《紡(fang)織(zhi)謠(yao)》、《胡(hu)(hu)琴(qin)·散(san)曲(qu)》、《漁夫曲(qu)》和《農夫樂》等。

改革(ge)胡(hu)(hu)琴(qin)(qin)(qin)·四弦胡(hu)(hu)琴(qin)(qin)(qin)：朝(chao)鮮族(zu)(zu)弓拉(la)弦鳴樂(le)器。20世紀60年代，朝(chao)鮮族(zu)(zu)胡(hu)(hu)琴(qin)(qin)(qin)演奏家李一男等制作(zuo)成功(gong)改革(ge)胡(hu)(hu)琴(qin)(qin)(qin)和(he)四弦胡(hu)(hu)琴(qin)(qin)(qin)，四弦胡(hu)(hu)琴(qin)(qin)(qin)有高音(yin)、中(zhong)(zhong)音(yin)和(he)低(di)音(yin)三(san)種，已用于吉林省延(yan)邊朝(chao)鮮族(zu)(zu)自治州(zhou)專業音(yin)樂(le)藝術團(tuan)體中(zhong)(zhong)，是朝(chao)鮮族(zu)(zu)民族(zu)(zu)樂(le)隊的主要(yao)拉(la)弦樂(le)器。

改革胡(hu)琴(qin)(qin)：全(quan)長(chang)65厘(li)米(mi)。琴(qin)(qin)筒竹(zhu)制，筒長(chang)13厘(li)米(mi)，筒前(qian)口蒙(meng)以(yi)桐(tong)木(mu)面板，面徑(jing)9.5厘(li)米(mi)。琴(qin)(qin)桿(gan)用烏(wu)木(mu)、紫檀(tan)或(huo)紅木(mu)制作，為圓(yuan)形柱狀體、琴(qin)(qin)頭(tou)呈彎月(yue)形朝前(qian)彎曲，桿(gan)的上部橫(heng)置(zhi)兩(liang)個(ge)硬木(mu)制弦軸(zhou)，軸(zhou)頂呈葫蘆形或(huo)圓(yuan)錐(zhui)形，軸(zhou)長(chang)11厘(li)米(mi)，軸(zhou)頭(tou)裝有金屬螺旋(又稱(cheng)直(zhi)行銅軸(zhou))可(ke)微調音高。弦軸(zhou)下(xia)方設有腰馬支弦，琴(qin)(qin)筒下(xia)方增置(zhi)木(mu)制底托，使演奏中琴(qin)(qin)身平穩。張兩(liang)條鋼絲(si)弦。琴(qin)(qin)弓用直(zhi)桿(gan)細(xi)竹(zhu)系(xi)以(yi)馬尾而成(cheng)，弓長(chang)80厘(li)。這種改革胡(hu)琴(qin)(qin)，發(fa)音明亮、圓(yuan)潤，音色悠揚、悅耳(er)，音量也較傳統胡(hu)琴(qin)(qin)增大，音域(yu)增至(zhi)三(san)個(ge)八度(du)。可(ke)用于獨(du)(du)奏、合(he)奏或(huo)伴(ban)奏，尤以(yi)獨(du)(du)奏效果(guo)最(zui)佳(jia)。

四(si)弦(xian)胡(hu)(hu)(hu)琴(qin)(qin)：是(shi)胡(hu)(hu)(hu)琴(qin)(qin)的系(xi)列樂(le)(le)器新品(pin)種，它(ta)包括高(gao)音(yin)、中(zhong)音(yin)和低音(yin)胡(hu)(hu)(hu)琴(qin)(qin)三種。琴(qin)(qin)筒、琴(qin)(qin)桿均用(yong)(yong)(yong)色(se)木(mu)制作，增(zeng)設了烏(wu)木(mu)指板。高(gao)音(yin)四(si)弦(xian)胡(hu)(hu)(hu)琴(qin)(qin)按五(wu)(wu)度關系(xi)定(ding)弦(xian)為：g、d1、a1、e2， 音(yin)域(yu)g—c4；中(zhong)音(yin)四(si)弦(xian)胡(hu)(hu)(hu)琴(qin)(qin)的定(ding)弦(xian)比(bi)高(gao)音(yin)胡(hu)(hu)(hu)琴(qin)(qin)低五(wu)(wu)度，定(ding)弦(xian)為：c、g、d1、a1，音(yin)域(yu)c—a3；低音(yin)四(si)弦(xian)胡(hu)(hu)(hu)琴(qin)(qin)的定(ding)弦(xian)比(bi)中(zhong)音(yin)胡(hu)(hu)(hu)琴(qin)(qin)低八度，定(ding)弦(xian)為：C、G、d、a，音(yin)域(yu)C—c2。這套 四(si)弦(xian)胡(hu)(hu)(hu)琴(qin)(qin)的總音(yin)域(yu)C—c4，達五(wu)(wu)個八度。適于合(he)奏或(huo)伴奏使用(yong)(yong)(yong)，已用(yong)(yong)(yong)于朝鮮族(zu)民族(zu)樂(le)(le)隊中(zhong)。

奚胡(hu)除在朝鮮(xian)族民(min)間流傳(chuan)(chuan)外，在內蒙古(gu)自治(zhi)區東部(bu)和遼寧、黑龍江等省的蒙古(gu)族民(min)間也有流傳(chuan)(chuan)。其(qi)結構和奏法(fa)均與朝鮮(xian)族胡(hu)琴近似，但(dan)形(xing)制較(jiao)小。琴桿用色木(mu)(mu)或硬(ying)雜木(mu)(mu)制成，長50厘(li)米(mi)(mi)。琴筒用木(mu)(mu)或金屬(shu)制成，筒長10厘(li)米(mi)(mi)，前口(kou)蒙以(yi)桐木(mu)(mu)薄(bo)板為面，面徑7厘(li)米(mi)(mi)。弦(xian)軸木(mu)(mu)制，圓(yuan)錐(zhui)形(xing)。張兩條絲弦(xian)或腸衣(yi)弦(xian)。琴弓用竹片彎成弧(hu)形(xing)，兩端系(xi)以(yi)馬尾，弓長40厘(li)米(mi)(mi)。五度定弦(xian)為g、d1，音(yin)(yin)域g—g1，只(zhi)有一個八度。發音(yin)(yin)柔(rou)弱(ruo)，音(yin)(yin)色渾厚。但(dan)流傳(chuan)(chuan)不夠廣泛，現僅個別民(min)間老藝人還有使用。