A Study of the Liuqin History and the Transmission to Taiwan

• Main Authors: Chen,Wan-Yu, 陳婉妤
• Other Authors: Zhuang, Wen-da
• Format: Others
• Language: zh-TW
• Online Access: http://ndltd.ncl.edu.tw/handle/59660864907412073135

碩士 === 國立臺灣師範大學 === 音樂學系在職進修碩士班 === 96 === 　　　　　　　　　　　　　Abstract The topic of these is A Study of the History of Liuqin and the Transmission to Taiwan, including five chapters. The aim of the study is to explore the origin of Liuqin and the relationship with Liuqin Opera, how it was innovated and influenced by the culture as well as arts. Meanwhile, the study focuses on the education, the training of Liuqin and its evaluation system. Liuqin has turned to an solo instrument from an accompaniment of Sizhou Opera since it was innovated in 1958, and it has become indispensable to the stringed instruments in the Chinese musical groups. With being the lover and the performer of Luiqin for over 20 years, the author would like to do the research about the important repertoire and make people learn more about the instrument. Moreover, the author want to make a further study for the development of Luiqin comparing Mainland China with Taiwan. The methodology is based on the literature review and taken the ways of interview as well as field investigations to collect the relevant materials about the origin and the development of Luiqin in Taiwan and Mainland China. Chapter One is introduction, including the history and the quality of Luiqin. With studying the literature and interviewing in Taiwan and Mainland China, the author especially focus on the development of Luiqin in Taiwan instead of Mainland China, where has had systematic researches. Chapter Two is about the origin and the development of Luiqin. There aren’t any literal records about the origin. According to the journal, Jiangsu Xizhi and the buskers’ oral transmission, we could find that the form and the features of Luiqin are related to Pipa. As to the innovation of Luiqin in Mainland China, there are three parts of the spontaneous innovation divided, one is from ordinary people, another is set by the official conferences, and the other is about the important reformers. Chapter Three is about the transmission and the development of Luiqin in Taiwan, including the present conditions in professional musical groups, school education, and important contests. Chapter Four is about the analysis and comparison of the classical repertoire. the author selected separately three pieces of the classical repertoire from the two sides of the straits. In Mainland China, I chose Chundaoyihe (spring coming to the river yi), Tajike wuqu ( Tajike dance music), composed by Wang huiran, and Jianqi (the sword), composed by Xu changjun. The compositional music of Luiqin in Taiwan can be traced back to 1980s, including Saibeiyan ( the wild geese from the north) by Wang zhengping, Chegu guniang (lady chegu) by Chen zhongshen, and Yuhou tingyuan (the courtyard after raining) by Su wenqing and zheng cuipin. Chapter Five is conclusion. Due to the close interrelations between the musical groups and Luiqin, the author generalize and appraise the characteristics of Luiqin through the interpretation of music, the expression of techniques, and the features of education. In the end, the value of the research is expected to inspire the history and macrocosm research of Luiqin in more scientific and strict ways so that it can offer a new developing way of Luiqin in Taiwan.