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== Music and instruments: Yangqin（扬琴） ==
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== Final Paper (English Version) ==
  
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'''Music and instruments: Yangqin（扬琴）'''
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'''Title: Music and instruments: Yangqin（扬琴）'''
  
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Yangqin, one of the essential struck string instruments in Chinese ethnic orchestras, is a remarkable one among Chinese national instruments with a blend of national and global characteristics. Introduced to China from Persia at the end of the Ming Dynasty, Yangqin has undergone nearly four centuries of evolution and development. Through the transformation by Chinese folk artists and the influence of various regional music cultures, it has not only embraced traditional elements but also cultivated a distinctly Chinese national flair.
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'''Student Name:''' 汤欣妍 Estrella
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'''Abstract:''' This article centers on the Chinese Yangqin. Initially, it delves into its origin, which can be traced back to its introduction from Persia during the Ming Dynasty and subsequent evolution under the influence of Chinese folk artisans. Subsequently, it meticulously elaborates on its structural constituents, such as the resonator, nuts, bridges, and others. The article also encompasses aspects like the range variations among different types, and performance methodologies with diverse techniques, and recommends the musical piece ''The Joyous Torch Festival''. In terms of its current status, it notes the professionalization of Yangqin education in China since the 1950s along with related advancements, while highlighting the limitations in theoretical research. Finally, it explores strategies for promoting Yangqin culture, including augmenting publicity, fostering talent cultivation, and propelling innovative development.
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Yangqin, one of the essential struck string instruments in Chinese ethnic orchestras, is a remarkable one among Chinese national instruments with a blend of national and global characteristics. Introduced to China from Persia at the end of the Ming Dynasty, Yangqin has undergone nearly four centuries of evolution and development. Through the transformation by Chinese folk artists and the influence of various regional music cultures, it has not only embraced traditional elements but also cultivated a distinctly Chinese national flair (Nettl, 1995).
  
 
'''1. Origin Introduction'''
 
'''1. Origin Introduction'''
  
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According to historical records, before the Middle Ages, an instrument called the Santur (the ancestor of the clavichord) was popular in ancient Middle Eastern countries such as Assyria and Persia. During the Ming Dynasty (1368-1644), with the increasingly close friendly exchanges between China and West Asia as well as Southeast Asia, the Santur was introduced to China by sea from Persia in the eighth year of the Wanli period of the Ming Dynasty (1580). Initially, it gained popularity along the coastal areas of Guangdong and later gradually spread throughout China. After being modified by Chinese folk artists, the Santur gradually evolved into what is now known as the Chinese Yangqin. In the late Qing Dynasty, courtly music was on the wane, while folk instruments gained in popularity, with Yangqin finding its place in the rich tapestry of local folk music performances. With the emergence and growth of rap music and local operas, the yangqin was widely used as an accompaniment for rap and operas.
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According to historical records, '''before the Middle Ages''', an instrument called the Santur (the ancestor of the clavichord) was popular in ancient Middle Eastern countries such as Assyria and Persia. '''During the Ming Dynasty (1368-1644)''', with the increasingly close friendly exchanges between China and West Asia as well as Southeast Asia, the Santur was introduced to China by sea from Persia '''in the eighth year of the Wanli period of the Ming Dynasty (1580)'''. Initially, it gained popularity along the coastal areas of Guangdong and later gradually spread throughout China. After being modified by Chinese folk artists, the Santur gradually evolved into what is now known as the Chinese Yangqin. '''In the late Qing Dynasty''', courtly music was on the wane, while folk instruments gained in popularity, with Yangqin finding its place in the rich tapestry of local folk music performances. With the emergence and growth of rap music and local operas, the yangqin was widely used as an accompaniment for rap and operas(Douglas, 2004).
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[[File:Estrella 2.jpg]]
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Santur
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[[File:Estrella 3.jpg]]
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The Heshun Troupe's Yangqin in the sixth year of the Guangxu period of the Qing Dynasty (1880)
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'''2. Structural Components'''
 
'''2. Structural Components'''
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'''The strings''' are made of steel wires (originally, they were made of copper wires). The high-pitched part uses bare strings made of steel wires numbered from 27 to 31, while the low-pitched part employs wrapped strings which are formed by winding fine steel wires around the bare strings.  
 
'''The strings''' are made of steel wires (originally, they were made of copper wires). The high-pitched part uses bare strings made of steel wires numbered from 27 to 31, while the low-pitched part employs wrapped strings which are formed by winding fine steel wires around the bare strings.  
 
'''The bamboo mallets''' are two small elastic hammers made of bamboo, which are used to strike the strings to produce sounds.
 
'''The bamboo mallets''' are two small elastic hammers made of bamboo, which are used to strike the strings to produce sounds.
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[[File:Estrella 1.jpg]]
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structural components of Yangqin
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[[File:Example4 .jpg]]
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the bamboo mallets
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'''3. Range of Yangqin'''
 
'''3. Range of Yangqin'''
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''The Joyous Torch Festival'' composed by Liu Xisheng. The annual Torch Festival is one of the significant traditional festivals for the Yi people. On that night, people light torches and dance with abandon, turning the villages into a sea of torches and joy. Young men and women also take this opportunity to express their feelings to each other. The music depicts this touching ethnic custom. The theme with the flavor of the Yi people is full of vitality. The melody of the music ranges from lively to passionate and unrestrained, showing the scene where people dance and sing with torches in their hands. The tunes, sometimes gentle and nimble, sometimes graceful and bright, are like the affectionate whispers of the young people. The strong rhythm at the end vividly portrays the carnival atmosphere, immersing the listener in the festive celebration.
 
''The Joyous Torch Festival'' composed by Liu Xisheng. The annual Torch Festival is one of the significant traditional festivals for the Yi people. On that night, people light torches and dance with abandon, turning the villages into a sea of torches and joy. Young men and women also take this opportunity to express their feelings to each other. The music depicts this touching ethnic custom. The theme with the flavor of the Yi people is full of vitality. The melody of the music ranges from lively to passionate and unrestrained, showing the scene where people dance and sing with torches in their hands. The tunes, sometimes gentle and nimble, sometimes graceful and bright, are like the affectionate whispers of the young people. The strong rhythm at the end vividly portrays the carnival atmosphere, immersing the listener in the festive celebration.
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[https://www.huain.com/music/yangqin/hldhbj/259.html link title]
  
 
'''6. Current Situation'''
 
'''6. Current Situation'''
  
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Since the 1950s, nine higher music institutions, over fifty art academies, normal universities, and ethnic colleges in China have successively established the Yangqin major, steering Yangqin education from a folk and amateur status towards standardization and professionalism. Concurrently, a relatively complete and distinctive music education system has been formed, including music academies and some primary schools. The China Conservatory of Music began enrolling the first batch of Yangqin master’s students in 1985, signifying a further deepening and development of Yangqin education in China. In recent years, the Ministry of Culture has organized national symposiums on Yangqin teaching in art colleges, promoting teaching and research work in the Yangqin major. Lately, art academies have placed great emphasis on the construction of Yangqin teaching materials, and a large number of collections of traditional and creative Yangqin pieces, books, and theoretical works on technical training and playing methods have been published successively.  
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The development of Yangqin in contemporary China exhibits a diverse trend, with professional education continuously deepening and performance techniques becoming increasingly rich (Huanghe, 2006). Since the 1950s, nine higher music institutions, over fifty art academies, normal universities, and ethnic colleges in China have successively established the Yangqin major, steering Yangqin education from a folk and amateur status towards standardization and professionalism. Concurrently, a relatively complete and distinctive music education system has been formed, including music academies and some primary schools. The China Conservatory of Music began enrolling the first batch of Yangqin master’s students in 1985, signifying a further deepening and development of Yangqin education in China. In recent years, the Ministry of Culture has organized national symposiums on Yangqin teaching in art colleges, promoting teaching and research work in the Yangqin major. Lately, art academies have placed great emphasis on the construction of Yangqin teaching materials, and a large number of collections of traditional and creative Yangqin pieces, books, and theoretical works on technical training and playing methods have been published successively.  
  
 
However, research on Yangqin theory has been limited to vertical studies on the instrument itself in China. To leverage its professional strengths and potential, it is essential to expand both professional music education and amateur music promotion. Only by focusing on both aspects can the art of Yangqin truly develop and flourish.
 
However, research on Yangqin theory has been limited to vertical studies on the instrument itself in China. To leverage its professional strengths and potential, it is essential to expand both professional music education and amateur music promotion. Only by focusing on both aspects can the art of Yangqin truly develop and flourish.
  
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Then, how can we effectively promote the culture of Yangqin? How can we effectively promote the culture of the dulcimer?
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Then, how can we effectively promote the culture of Yangqin?  
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'''First and foremost''', we should enhance public awareness and education. By organizing concerts, exhibitions, and other engaging events, we can introduce the distinctive allure and deep cultural significance of the dulcimer to a broader audience. Additionally, leveraging new media platforms will help us extend the reach of dulcimer culture even further.
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'''First and foremost''', we should enhance public awareness and education. By organizing concerts, exhibitions, and other engaging events, we can introduce the distinctive allure and deep cultural significance of the dulcimer to a broader audience. Additionally, leveraging new media platforms will help us extend the reach of dulcimer culture even further(Li Lingling, 2019).
 
'''Next''', we need to focus on nurturing talent. By bolstering dulcimer education, we can develop a new generation of exceptional dulcimer artists and educators. Initiatives such as scholarships and competitions can serve as powerful incentives, encouraging more young individuals to immerse themselves in the preservation and evolution of dulcimer artistry.
 
'''Next''', we need to focus on nurturing talent. By bolstering dulcimer education, we can develop a new generation of exceptional dulcimer artists and educators. Initiatives such as scholarships and competitions can serve as powerful incentives, encouraging more young individuals to immerse themselves in the preservation and evolution of dulcimer artistry.
 
'''Lastly''', we must champion innovative growth. It's essential to inspire musicians and artists to innovate and explore new frontiers while honoring the rich traditions of dulcimer culture. Collaborative efforts across different disciplines and the integration of novel ideas will be crucial in fostering the seamless integration and growth of dulcimer culture within the context of contemporary society.
 
'''Lastly''', we must champion innovative growth. It's essential to inspire musicians and artists to innovate and explore new frontiers while honoring the rich traditions of dulcimer culture. Collaborative efforts across different disciplines and the integration of novel ideas will be crucial in fostering the seamless integration and growth of dulcimer culture within the context of contemporary society.
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'''Terms and Expressions:'''
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resonator 共鸣箱
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nuts 山口（弦轴）
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bridges 马子（琴桥）
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bamboo mallets 琴竹
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range 音域
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The Joyous Torch Festival 《欢乐的火把节》
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'''Questions:'''
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1. Where did Yangqin originate and when was it introduced to China?
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2. What are the structural components of Yangqin?
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3. What are the common types of Yangqin and what are their ranges respectively?
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4. What are the playing techniques of Yangqin?
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5. How to promote the culture of the Yangqin?
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'''Answers:'''
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1. Yangqin originated from the Santur in ancient Middle Eastern countries such as Assyria and Persia. It was introduced to China by sea from Persia in the eighth year of the Wanli period (1580) of the Ming Dynasty.
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2. Yangqin is composed of a resonator, nuts, bridges, strings, bamboo mallets, string pegs and tuning pegs, etc.
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3. Commonly used Yangqins fall into three categories in terms of range: the eight-tone type (actually producing twenty-four notes with a range from f1 to c2), the ten-tone type (actually producing thirty notes with a range from d1 to d3), and the twelve-tone type (actually producing thirty-six notes with a range from c to e3).
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4. The playing techniques of Yangqin can generally be divided into seven categories, including single-note, double notes, tremolo notes, tremolo strokes, broken chords, two-voice part arrangements and color techniques. Among them, single-note and tremolo notes are the fundamental and core skills.
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5. To promote the culture of the Yangqin, the following aspects can be focused on. Firstly, strengthen publicity and education. Expand the dissemination range of Yangqin culture by organizing concerts, exhibitions and other activities and leveraging new media platforms, so that more people can understand the unique charm and profound connotations of Yangqin culture. Secondly, focus on talent cultivation. Strengthen Yangqin education, and encourage young people to engage in the inheritance and development of Yangqin art by setting up scholarships, holding competitions and other means, to cultivate more outstanding Yangqin performers and educators. Thirdly, promote innovative development. Encourage musicians and artists to carry out innovative exploration on the basis of inheriting Yangqin culture, and promote the integration and development of Yangqin culture with modern society through cross-border cooperation, integrated innovation and other ways.
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'''References:'''
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Douglas, N. The Yangqin in China: An Instrument of Cultural Exchange[J]. Asian Music, 2004, 35(2): 79-104.
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Huang He. The Development of the Yangqin in Chinese Music[J]. People's Music, 2006(8): 52-54.
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Li Lingling. Inheritance and Innovation Strategies of Yangqin Culture[J]. Music Creation, 2019(5): 160-162.
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Liu, X. & Zhang, Y. The Performance Techniques and Expressive Meanings of the Yangqin in Chinese Folk Music[J]. Ethnomusicology Forum, 2015, 24(3): 335-358.
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Nettl, B. Heartland Excursions: Ethnomusicological Reflections on Schools of Music[J]. Yearbook for Traditional Music, 1995, 27: 1-30.
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'''AI Statement:''' I hereby guarantee that I have not used the help of AI to write my final paper in this course.
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== 期末论文 (中文版) ==
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'''音乐和乐器：扬琴'''
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学生姓名：汤欣妍 Estrella
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'''摘要：'''本文围绕中国扬琴展开深入研究。首先，文章深入探讨了扬琴的起源，其历史可追溯至明朝时期从波斯传入，并在中国民间工匠的影响下经历了演变。接着，文章详细阐述了扬琴的结构组成，如共鸣箱、山口、马子等。文章还涉及了不同类型扬琴的音域差异、多样化的演奏方法，并介绍了《欢乐的火把节》等音乐作品。在现状方面，文章指出自20世纪50年代以来中国扬琴教育的专业化进程及其相关发展，同时强调了理论研究的不足。最后，文章探讨了推广扬琴文化的策略，包括加强宣传、培养人才和推动创新发展。
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“丝非丝，竹非竹，桐裁便面柱金粟。瑟非瑟，筝非筝，十三金缕双双横。不用银甲弹，不用龙香拨。湘筠擘破绿参差，敲动纤纤手腕活。”扬琴，又称洋琴、打琴、铜丝琴、扇面琴、蝙蝠琴、蝴蝶琴，是中国民族乐团中必不可少的击弦乐器之一，是中国民族乐器中唯一具有民族性与世界性的乐器。扬琴自明末由波斯传入中国，历经近四百年的流传和演进，在中国民间艺人的改造和不同地域音乐文化的熏陶下，已具有我国传统特色和民族风格(Nettl, 1995)。
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'''1. 起源介绍'''
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据史书记载，中世纪以前，亚述、波斯等古代中东国家，流行着一种桑图尔（古钢琴的祖先）。明朝时期（1368-1644年），随着中国和西亚、东亚间日趋密切的友好往来，桑图尔琴由波斯于明代万历八年（1580年）经海路传入中国，最初流行于广东沿海一带，后来逐渐扩散到中国各地。后经中国民间艺人的改造，桑图尔琴渐渐演化成为中国扬琴。清代后期，宫廷音乐日渐衰落，民间乐器兴起，扬琴被吸收到地方民间乐种的多样演奏形式中。随着说唱音乐和地方戏曲的兴起与增多，扬琴被广泛用做说唱、戏曲的伴奏(Douglas, 2004)。
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扬琴传入中国以来，便迅速与中国的传统音乐表现形式相融合，成为中国音乐伴奏中不可缺少的重要组成部分，推动了民间说唱艺术的发展。扬琴的影响力也随着民间说唱艺术的发展被人们熟知和运用。
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由于扬琴传入的时间与其他民族乐器的时间相比较晚，本土化程度较低，这也导致了扬琴与东南亚、中西亚、欧洲的扬琴没有明显的差别。但正因如此，扬琴成为了民族乐团中的“灵魂乐器”。这是因为在我国近现代建设民族交响乐团时，那些本土化程度高的乐器更适配于我国传统的民族调式（宫商⻆徵羽）。但一直没有合适的方法解决十二平均律转调的问题，扬琴在此时就发挥了重大的作用，它的改良参考了欧洲扬琴乃至钢琴的设计，将这个问题很好的解决了。
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'''2. 结构组成'''
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扬琴由共鸣箱、山口、马子、琴弦、琴竹、弦钉和弦轴等构成。
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'''共鸣箱'''是扬琴的形体，它由前后两块侧板和左右两端琴头连接成琴架，上下蒙以薄板而成。侧板和琴头使用色、烨木、榆木或其他质地较硬木材制作，琴架上的面板使用纹理顺直、均匀的梧桐木或鱼鳞松制作。它是音响的共鸣板，对扬琴的音量和音色起重要作用。琴架下面的底板，多使用三层的胶合板。共鸣箱里面，对应面板每个码子处都胶有一道音梁，它与面、底板和前后侧板相连，使琴箱分成几个空间。
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'''山口'''是面板两侧的长形木条，用红木制成，起架弦作用，山口至马子的一段弦长，才是琴弦的振动发部分。
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'''马子'''呈条形峰谷状，用竹、红木或牛骨制作，有2～5个，置于面板上，左侧的为高音马，右侧为低音马，其凸出的峰部用以架弦，凹下的谷部为其他琴弦通过。
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'''琴弦'''采用钢丝弦（最早用铜丝弦）。高音部分为裸弦，使用27～31号钢丝，低音部分用缠弦，在裸弦上缠绕细钢丝而成。
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'''琴竹'''又有琴笕、琴签和琴棰之称，是两支富有弹性的竹制小棰，用以敲击琴弦发音。
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'''3. 扬琴音域'''
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各种扬琴有着不同的音域，常用扬琴有八音（实发二十四音）、十音（实发三十音）、十二音（实发三十六音）三种，又称双八型、双十型、双十二型。音域分别为：八音f1—c2，十音d1—d3，十二音c—e3。
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扬琴的音色丰富多彩，低音区发音朦胧、雄厚而深沉；中音区柔和、纯净而透明；高音区清脆、明亮；最高音区则较紧张。演奏旋律时主要用中音和高音区，有时也接触到最高音区，但很少使用。低音区较少演奏旋律，多用作和声的衬托。扬琴适于演奏快速的乐曲，最适合表现轻快、活泼的情绪和欢快、喜悦的感情。
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'''4. 演奏方式'''
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在继承传统、吸收、借鉴姊妹民族乐器和外国乐器技法特长的基础上，我国扬琴已自成一体，具有丰富多彩的演奏技巧和表现手法。归纳起来，大致可分为七类：单音、双音、轮音、弹轮、分解和弦、两声部配置和色彩技巧。其中单音技术和轮音是扬琴的基本核心技巧。
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演奏时，琴置于架上，左右手各执一琴竹分别敲击在条码两侧的弦上。扬琴的基本竹法是两手轮流交替。传统竹法有“左竹法”和“右竹法”两种。五十年代未王沂甫先生总结出弹、轮、颤、滑、点、拔、揉、勾”扬琴八法。随着扬琴的发展，过去单一竹法已变成充分发挥两手主动性、灵活方便的混合竹法。
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在各种色彩性技巧中，单音似珠落玉盘，晶莹剔透，常用于装饰旋律，使之轻快活泼，华丽多彩；双音丰满有力，主要用于曲调需强奏的音上，以增强气势，烘托情绪；反笕和拔弦使旋律清新悠扬；吟音、勾揉使曲调深沉醇朴，清幽典雅；顿音似马蹄轻踏；泛音使意境深远，韵味无穷；弹轮密集紧凑，多用于时值较短的音符，使之轻巧明快；滑拔模仿流水，浪花声，强如瀑布飞溅，波涛汹涌，弱似霏霏细雨中流淌的小溪；分解和弦则宛如微波荡漾的湖面上闪烁的粼粼波光，常用于描绘秀丽的山河景色和大自然的迷人风光；鼓音、木音、摘音、才音、击板模拟打击乐音响，强如节日里鸣锣道鼓，弱似深山远寺和钟鼓楼里飘逸出的仙声雅乐；指套滑音既获琴瑟之韵，高雅清音，又可模仿莺啼燕转，瑟瑟风声和惊涛拍岸。惟妙惟肖，如诗如画。在乐曲中准确、洗练、灵活、巧妙运用扬琴的这些技法，能够增强演奏的艺术感染力。
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'''5. 推荐曲目'''
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'''《欢乐的火把节》'''：刘希圣作曲。一年一度的火把节是彝族人民重要的传统节日之一。这天晚上，人们纷纷点起火把尽情歌舞，山寨成了火把的海洋、欢乐的海洋，青年男女们也借此互诉衷扬。乐曲描绘了这一动人的民族风情，具有彝族风味的主题极具动感。乐曲的旋律从轻快到热烈奔放，展示了人们手擎火把载歌载舞的情景，时而温柔轻捷、时而优美明朗的曲调，犹如青年们的绵绵情话。结尾时强烈的节奏酣畅地描绘出狂欢的场面，让听者不禁沉醉于节日的喜庆之中。
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'''《弹词三六》'''：扬琴独奏曲。原为江南民间乐曲《梅花三弄》，与琴曲《梅花三弄》同名异曲。《三六》可能是该曲第三段《三叠落梅》中《三落》的上海方言谐音。乐谱最早载于1895年李芳园编的《南北派十三套大曲琵琶新谱》。曾以丝竹乐合奏形式在江南各地广泛流传。在评弹演唱前常用琵琶、三弦作为开场音乐演奏，故称《弹词三六》。经项祖华改编为扬琴曲。全曲共分十一小段，合头段落在曲中反复穿插出现五次，构成循环体的结构特点。乐曲旋律活泼流畅，表现出热烈欢快的情绪。
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'''《林冲夜奔》'''：题材选自中国古典名著《水浒》及其同名折子戏，作者以具有民族气质和中国特色的音乐思维方式，生动地阐述了《水浒》英雄林冲蒙冤落难，怒火满腔，顶风踏雪、战胜险阻，夜奔梁山的故事。乐曲前部分节奏较慢、自由舒缓，低音区和高音区的旋律交替进行，犹如叹息和悲愤交加，接着转入较快旋律，呈现出林冲惶恐不安的焦躁心理；乐曲结尾紧凑而坚定，表现出林冲最后突破重重险阻，满怀信心地奔向梁山。
 +
 +
'''6. 发展现状'''
 +
扬琴在当代中国的发展呈现出多元态势，专业教育不断深化，演奏技巧日益丰富（黄河，2006）。从20 世纪50 年代以来，中国九所高等音乐院校、五十余所艺术院校、师范院校、民族学院相继开办扬琴专业，扬琴教学由民间化、业余化走向规范化、专业化。同时，还建立了音乐学院、部分小学，形成了较为完整、具有特色的音乐教育系统。中国音乐学院于1985年第一批招收扬琴硕士生，这标志着中国扬琴教学得到了进一步的深化和发展。近年来，国家文化部组织了全国美术学院扬琴教学讨论会，促进了扬琴专业的教学和科研工作。近年来，各美术学院对扬琴教材的建设十分重视，并相继出版了一大批扬琴传统与创作曲集、有关技术训练与弹奏方法的书籍、理论作品。然而，扬琴理论的研究仅限于对中国扬琴本身进行的纵向研究，今后要发挥其专业优势与潜力。在大力发展职业音乐教育的同时，还应大力推广业余音乐，只有“两手抓”，才能使扬琴艺术得到真正的发展和繁荣。
 +
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那么应该如何弘扬扬琴文化呢？第一，加强宣传教育。通过举办音乐会、展览等活动，让更多人了解扬琴文化的独特魅力和深厚内涵。同时，可以利用新媒体等渠道，扩大扬琴文化的传播范围（李玲玲，2019）。第二，培养人才。加强扬琴教育，培养更多优秀的扬琴演奏家和教育家。通过设立奖学金、举办比赛等方式，激励更多的年轻人投身到扬琴艺术的传承与发展中来。第三，推动创新发展。鼓励音乐家和艺术家在传承扬琴文化的基础上，进行创新和探索。通过跨界合作、融合创新等方式，推动扬琴文化与现代社会的融合与发展。
 +
 +
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'''问题：'''
 +
 +
1. 扬琴起源于哪里？何时传入中国？
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 +
2. 扬琴的结构由哪些部分组成？
 +
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3. 常用扬琴有哪几种类型？其音域分别是怎样的？
 +
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4. 扬琴有哪些演奏技巧？
 +
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5. 如何弘扬扬琴文化？
 +
 +
 +
'''答案：'''
 +
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1. 扬琴起源于古代中东国家（如亚述、波斯等）的桑图尔琴，于明朝万历八年（1580 年）从波斯经海路传入中国。
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2. 扬琴由共鸣箱、山口、马子、琴弦、琴竹、弦钉和弦轴等构成。
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3. 常用扬琴有八音（实发二十四音，音域 f1—c2）、十音（实发三十音，音域 d1—d3）、十二音（实发三十六音，音域 c—e3）三种类型。
 +
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4. 扬琴演奏技巧大致可分为七类，包括单音、双音、轮音、弹轮、分解和弦、两声部配置和色彩技巧等，其中单音技术和轮音是基本核心技巧。
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5. 弘扬扬琴文化可以从以下方面着手：第一，加强宣传教育，通过举办音乐会、展览等活动，利用新媒体等渠道扩大其文化传播范围，让更多人了解扬琴文化的独特魅力和深厚内涵；第二，培养人才，加强扬琴教育，通过设立奖学金、举办比赛等方式，激励年轻人投身扬琴艺术的传承与发展，培养更多优秀的扬琴演奏家和教育家；第三，推动创新发展，鼓励音乐家和艺术家在传承扬琴文化基础上进行创新探索，通过跨界合作、融合创新等方式，推动扬琴文化与现代社会的融合与发展。
 +
 +
 +
'''参考文献：'''
 +
 +
黄河，中国扬琴艺术发展与思考 [J]. 人民音乐，2006 (8): 52-54.
 +
 +
李玲玲，扬琴文化的传承与创新策略 [J]. 音乐创作，2019 (5): 160-162.
 +
 +
Douglas, N. The Yangqin in China: An Instrument of Cultural Exchange[J]. Asian Music, 2004, 35(2): 79-104.
 +
 +
Liu, X. & Zhang, Y. The Performance Techniques and Expressive Meanings of the Yangqin in Chinese Folk Music[J]. Ethnomusicology Forum, 2015, 24(3): 335-358.
 +
 +
Nettl, B. Heartland Excursions: Ethnomusicological Reflections on Schools of Music[J]. Yearbook for Traditional Music, 1995, 27: 1-30.

Latest revision as of 10:07, 31 December 2024

My name is Estrella, and I am currently a second-year graduate student pursuing a Master’s degree in English Translation at Hunan Normal University. I have laid a solid foundation in the field of English language and translation through my undergraduate studies at Guangxi University, where I majored in English. My academic pursuits have been complemented by practical work experiences that have enriched my professional skills. For example, during the ASEAN Expo, I served as an intern translator. This experience not only honed my translation skills but also provided me with opportunities to interact with professionals from diverse cultural backgrounds. I firmly believe that translation is more than a linguistic conversion; it is a bridge for cultural and intellectual exchange. I am committed to facilitating understanding and communication between different languages and cultures through my work. Looking ahead, I aspire to utilize my expertise on the international stage, contributing to cross-cultural exchanges.

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Final Paper (English Version)

Title: Music and instruments: Yangqin（扬琴）

Student Name: 汤欣妍 Estrella

Abstract: This article centers on the Chinese Yangqin. Initially, it delves into its origin, which can be traced back to its introduction from Persia during the Ming Dynasty and subsequent evolution under the influence of Chinese folk artisans. Subsequently, it meticulously elaborates on its structural constituents, such as the resonator, nuts, bridges, and others. The article also encompasses aspects like the range variations among different types, and performance methodologies with diverse techniques, and recommends the musical piece The Joyous Torch Festival. In terms of its current status, it notes the professionalization of Yangqin education in China since the 1950s along with related advancements, while highlighting the limitations in theoretical research. Finally, it explores strategies for promoting Yangqin culture, including augmenting publicity, fostering talent cultivation, and propelling innovative development.


Yangqin, one of the essential struck string instruments in Chinese ethnic orchestras, is a remarkable one among Chinese national instruments with a blend of national and global characteristics. Introduced to China from Persia at the end of the Ming Dynasty, Yangqin has undergone nearly four centuries of evolution and development. Through the transformation by Chinese folk artists and the influence of various regional music cultures, it has not only embraced traditional elements but also cultivated a distinctly Chinese national flair (Nettl, 1995).

1. Origin Introduction

According to historical records, before the Middle Ages, an instrument called the Santur (the ancestor of the clavichord) was popular in ancient Middle Eastern countries such as Assyria and Persia. During the Ming Dynasty (1368-1644), with the increasingly close friendly exchanges between China and West Asia as well as Southeast Asia, the Santur was introduced to China by sea from Persia in the eighth year of the Wanli period of the Ming Dynasty (1580). Initially, it gained popularity along the coastal areas of Guangdong and later gradually spread throughout China. After being modified by Chinese folk artists, the Santur gradually evolved into what is now known as the Chinese Yangqin. In the late Qing Dynasty, courtly music was on the wane, while folk instruments gained in popularity, with Yangqin finding its place in the rich tapestry of local folk music performances. With the emergence and growth of rap music and local operas, the yangqin was widely used as an accompaniment for rap and operas(Douglas, 2004).

Estrella 2.jpg

Santur

Estrella 3.jpg

The Heshun Troupe's Yangqin in the sixth year of the Guangxu period of the Qing Dynasty (1880)


2. Structural Components

Yangqin is composed of a resonator, nuts, bridges, strings, bamboo mallets, etc. The resonator forms the body of Yangqin, which is crafted by joining two side panels—front and back—with the left and right sides of the instrument head to create a frame, followed by capping it with thin panels on both the top and bottom. The nuts are long wooden strips on both sides of the soundboard. It is made of rosewood and serves to hold the strings in place. The length of the string from the nut to the bridge is the vibrating part that produces sound. The bridges are in the shape of long strips with peaks and valleys. They are made of bamboo, rosewood, or cow bones. There are usually 2 to 5 bridges placed on the soundboard. The ones on the left are for high-pitched strings and are called high-pitched bridges, while those on the right are for low-pitched strings and are called low-pitched bridges. The protruding peaks of the bridges are used to hold the strings in place, and the recessed valleys allow other strings to pass through. The strings are made of steel wires (originally, they were made of copper wires). The high-pitched part uses bare strings made of steel wires numbered from 27 to 31, while the low-pitched part employs wrapped strings which are formed by winding fine steel wires around the bare strings. The bamboo mallets are two small elastic hammers made of bamboo, which are used to strike the strings to produce sounds.

Estrella 1.jpg

structural components of Yangqin

Example4 .jpg

the bamboo mallets


3. Range of Yangqin

Different types of Yangqins have different ranges. Commonly used Yangqins fall into three categories in terms of range: the eight-tone type (actually producing twenty-four notes), the ten-tone type (actually producing thirty notes), and the twelve-tone type (actually producing thirty-six notes). Their ranges are as follows: for the eight-tone type, it is from f1 to c2; for the ten-tone type, it is from d1 to d3; and for the twelve-tone type, it is from c to e3.

4. Performance Methods

On the basis of inheriting traditions and absorbing the technical features of the musical instruments of sister ethnic groups as well as foreign musical instruments, Yangqin has developed its own unique style, with rich and colorful playing techniques and means of expression. To sum up, they can be generally divided into seven categories: single notes, double notes, tremolo notes, tremolo strokes, broken chords, two-voice part arrangements, and color techniques. Among them, single notes and tremolo notes are the fundamental and core skills of Yangqin. During performances, Yangqin is placed on a stand, with the player holding a bamboo mallet in each hand to strike the strings on either side of the bridges. There are two traditional bamboo mallet techniques, namely the “left bamboo mallet technique” and the “right bamboo mallet technique”. In the late 1950s, Mr. Wang Yifu summed up the “Eight Techniques of the Yangqin”, which include plucking, tremolo, tremolo strokes, glissando, dotting, plucking (in a different way), rubbing, and hooking. With the development of Yangqin, the single bamboo mallet technique in the past has evolved into a mixed bamboo mallet technique that gives full play to the initiative of both hands.

5. Recommended Piece

The Joyous Torch Festival composed by Liu Xisheng. The annual Torch Festival is one of the significant traditional festivals for the Yi people. On that night, people light torches and dance with abandon, turning the villages into a sea of torches and joy. Young men and women also take this opportunity to express their feelings to each other. The music depicts this touching ethnic custom. The theme with the flavor of the Yi people is full of vitality. The melody of the music ranges from lively to passionate and unrestrained, showing the scene where people dance and sing with torches in their hands. The tunes, sometimes gentle and nimble, sometimes graceful and bright, are like the affectionate whispers of the young people. The strong rhythm at the end vividly portrays the carnival atmosphere, immersing the listener in the festive celebration.

link title

6. Current Situation

The development of Yangqin in contemporary China exhibits a diverse trend, with professional education continuously deepening and performance techniques becoming increasingly rich (Huanghe, 2006). Since the 1950s, nine higher music institutions, over fifty art academies, normal universities, and ethnic colleges in China have successively established the Yangqin major, steering Yangqin education from a folk and amateur status towards standardization and professionalism. Concurrently, a relatively complete and distinctive music education system has been formed, including music academies and some primary schools. The China Conservatory of Music began enrolling the first batch of Yangqin master’s students in 1985, signifying a further deepening and development of Yangqin education in China. In recent years, the Ministry of Culture has organized national symposiums on Yangqin teaching in art colleges, promoting teaching and research work in the Yangqin major. Lately, art academies have placed great emphasis on the construction of Yangqin teaching materials, and a large number of collections of traditional and creative Yangqin pieces, books, and theoretical works on technical training and playing methods have been published successively.

However, research on Yangqin theory has been limited to vertical studies on the instrument itself in China. To leverage its professional strengths and potential, it is essential to expand both professional music education and amateur music promotion. Only by focusing on both aspects can the art of Yangqin truly develop and flourish.

Then, how can we effectively promote the culture of Yangqin? First and foremost, we should enhance public awareness and education. By organizing concerts, exhibitions, and other engaging events, we can introduce the distinctive allure and deep cultural significance of the dulcimer to a broader audience. Additionally, leveraging new media platforms will help us extend the reach of dulcimer culture even further(Li Lingling, 2019). Next, we need to focus on nurturing talent. By bolstering dulcimer education, we can develop a new generation of exceptional dulcimer artists and educators. Initiatives such as scholarships and competitions can serve as powerful incentives, encouraging more young individuals to immerse themselves in the preservation and evolution of dulcimer artistry. Lastly, we must champion innovative growth. It's essential to inspire musicians and artists to innovate and explore new frontiers while honoring the rich traditions of dulcimer culture. Collaborative efforts across different disciplines and the integration of novel ideas will be crucial in fostering the seamless integration and growth of dulcimer culture within the context of contemporary society.


Terms and Expressions:

resonator 共鸣箱

nuts 山口（弦轴）

bridges 马子（琴桥）

bamboo mallets 琴竹

range 音域

The Joyous Torch Festival 《欢乐的火把节》


Questions:

1. Where did Yangqin originate and when was it introduced to China?

2. What are the structural components of Yangqin?

3. What are the common types of Yangqin and what are their ranges respectively?

4. What are the playing techniques of Yangqin?

5. How to promote the culture of the Yangqin?


Answers:

1. Yangqin originated from the Santur in ancient Middle Eastern countries such as Assyria and Persia. It was introduced to China by sea from Persia in the eighth year of the Wanli period (1580) of the Ming Dynasty.

2. Yangqin is composed of a resonator, nuts, bridges, strings, bamboo mallets, string pegs and tuning pegs, etc.

3. Commonly used Yangqins fall into three categories in terms of range: the eight-tone type (actually producing twenty-four notes with a range from f1 to c2), the ten-tone type (actually producing thirty notes with a range from d1 to d3), and the twelve-tone type (actually producing thirty-six notes with a range from c to e3).

4. The playing techniques of Yangqin can generally be divided into seven categories, including single-note, double notes, tremolo notes, tremolo strokes, broken chords, two-voice part arrangements and color techniques. Among them, single-note and tremolo notes are the fundamental and core skills.

5. To promote the culture of the Yangqin, the following aspects can be focused on. Firstly, strengthen publicity and education. Expand the dissemination range of Yangqin culture by organizing concerts, exhibitions and other activities and leveraging new media platforms, so that more people can understand the unique charm and profound connotations of Yangqin culture. Secondly, focus on talent cultivation. Strengthen Yangqin education, and encourage young people to engage in the inheritance and development of Yangqin art by setting up scholarships, holding competitions and other means, to cultivate more outstanding Yangqin performers and educators. Thirdly, promote innovative development. Encourage musicians and artists to carry out innovative exploration on the basis of inheriting Yangqin culture, and promote the integration and development of Yangqin culture with modern society through cross-border cooperation, integrated innovation and other ways.


References:

Douglas, N. The Yangqin in China: An Instrument of Cultural Exchange[J]. Asian Music, 2004, 35(2): 79-104.

Huang He. The Development of the Yangqin in Chinese Music[J]. People's Music, 2006(8): 52-54.

Li Lingling. Inheritance and Innovation Strategies of Yangqin Culture[J]. Music Creation, 2019(5): 160-162.

Liu, X. & Zhang, Y. The Performance Techniques and Expressive Meanings of the Yangqin in Chinese Folk Music[J]. Ethnomusicology Forum, 2015, 24(3): 335-358.

Nettl, B. Heartland Excursions: Ethnomusicological Reflections on Schools of Music[J]. Yearbook for Traditional Music, 1995, 27: 1-30.


AI Statement: I hereby guarantee that I have not used the help of AI to write my final paper in this course.

期末论文 (中文版)

音乐和乐器：扬琴

学生姓名：汤欣妍 Estrella

摘要：本文围绕中国扬琴展开深入研究。首先，文章深入探讨了扬琴的起源，其历史可追溯至明朝时期从波斯传入，并在中国民间工匠的影响下经历了演变。接着，文章详细阐述了扬琴的结构组成，如共鸣箱、山口、马子等。文章还涉及了不同类型扬琴的音域差异、多样化的演奏方法，并介绍了《欢乐的火把节》等音乐作品。在现状方面，文章指出自20世纪50年代以来中国扬琴教育的专业化进程及其相关发展，同时强调了理论研究的不足。最后，文章探讨了推广扬琴文化的策略，包括加强宣传、培养人才和推动创新发展。


“丝非丝，竹非竹，桐裁便面柱金粟。瑟非瑟，筝非筝，十三金缕双双横。不用银甲弹，不用龙香拨。湘筠擘破绿参差，敲动纤纤手腕活。”扬琴，又称洋琴、打琴、铜丝琴、扇面琴、蝙蝠琴、蝴蝶琴，是中国民族乐团中必不可少的击弦乐器之一，是中国民族乐器中唯一具有民族性与世界性的乐器。扬琴自明末由波斯传入中国，历经近四百年的流传和演进，在中国民间艺人的改造和不同地域音乐文化的熏陶下，已具有我国传统特色和民族风格(Nettl, 1995)。

1. 起源介绍

据史书记载，中世纪以前，亚述、波斯等古代中东国家，流行着一种桑图尔（古钢琴的祖先）。明朝时期（1368-1644年），随着中国和西亚、东亚间日趋密切的友好往来，桑图尔琴由波斯于明代万历八年（1580年）经海路传入中国，最初流行于广东沿海一带，后来逐渐扩散到中国各地。后经中国民间艺人的改造，桑图尔琴渐渐演化成为中国扬琴。清代后期，宫廷音乐日渐衰落，民间乐器兴起，扬琴被吸收到地方民间乐种的多样演奏形式中。随着说唱音乐和地方戏曲的兴起与增多，扬琴被广泛用做说唱、戏曲的伴奏(Douglas, 2004)。 扬琴传入中国以来，便迅速与中国的传统音乐表现形式相融合，成为中国音乐伴奏中不可缺少的重要组成部分，推动了民间说唱艺术的发展。扬琴的影响力也随着民间说唱艺术的发展被人们熟知和运用。 由于扬琴传入的时间与其他民族乐器的时间相比较晚，本土化程度较低，这也导致了扬琴与东南亚、中西亚、欧洲的扬琴没有明显的差别。但正因如此，扬琴成为了民族乐团中的“灵魂乐器”。这是因为在我国近现代建设民族交响乐团时，那些本土化程度高的乐器更适配于我国传统的民族调式（宫商⻆徵羽）。但一直没有合适的方法解决十二平均律转调的问题，扬琴在此时就发挥了重大的作用，它的改良参考了欧洲扬琴乃至钢琴的设计，将这个问题很好的解决了。

2. 结构组成

扬琴由共鸣箱、山口、马子、琴弦、琴竹、弦钉和弦轴等构成。 共鸣箱是扬琴的形体，它由前后两块侧板和左右两端琴头连接成琴架，上下蒙以薄板而成。侧板和琴头使用色、烨木、榆木或其他质地较硬木材制作，琴架上的面板使用纹理顺直、均匀的梧桐木或鱼鳞松制作。它是音响的共鸣板，对扬琴的音量和音色起重要作用。琴架下面的底板，多使用三层的胶合板。共鸣箱里面，对应面板每个码子处都胶有一道音梁，它与面、底板和前后侧板相连，使琴箱分成几个空间。 山口是面板两侧的长形木条，用红木制成，起架弦作用，山口至马子的一段弦长，才是琴弦的振动发部分。 马子呈条形峰谷状，用竹、红木或牛骨制作，有2～5个，置于面板上，左侧的为高音马，右侧为低音马，其凸出的峰部用以架弦，凹下的谷部为其他琴弦通过。 琴弦采用钢丝弦（最早用铜丝弦）。高音部分为裸弦，使用27～31号钢丝，低音部分用缠弦，在裸弦上缠绕细钢丝而成。 琴竹又有琴笕、琴签和琴棰之称，是两支富有弹性的竹制小棰，用以敲击琴弦发音。

3. 扬琴音域

各种扬琴有着不同的音域，常用扬琴有八音（实发二十四音）、十音（实发三十音）、十二音（实发三十六音）三种，又称双八型、双十型、双十二型。音域分别为：八音f1—c2，十音d1—d3，十二音c—e3。 扬琴的音色丰富多彩，低音区发音朦胧、雄厚而深沉；中音区柔和、纯净而透明；高音区清脆、明亮；最高音区则较紧张。演奏旋律时主要用中音和高音区，有时也接触到最高音区，但很少使用。低音区较少演奏旋律，多用作和声的衬托。扬琴适于演奏快速的乐曲，最适合表现轻快、活泼的情绪和欢快、喜悦的感情。

4. 演奏方式

在继承传统、吸收、借鉴姊妹民族乐器和外国乐器技法特长的基础上，我国扬琴已自成一体，具有丰富多彩的演奏技巧和表现手法。归纳起来，大致可分为七类：单音、双音、轮音、弹轮、分解和弦、两声部配置和色彩技巧。其中单音技术和轮音是扬琴的基本核心技巧。 演奏时，琴置于架上，左右手各执一琴竹分别敲击在条码两侧的弦上。扬琴的基本竹法是两手轮流交替。传统竹法有“左竹法”和“右竹法”两种。五十年代未王沂甫先生总结出弹、轮、颤、滑、点、拔、揉、勾”扬琴八法。随着扬琴的发展，过去单一竹法已变成充分发挥两手主动性、灵活方便的混合竹法。 在各种色彩性技巧中，单音似珠落玉盘，晶莹剔透，常用于装饰旋律，使之轻快活泼，华丽多彩；双音丰满有力，主要用于曲调需强奏的音上，以增强气势，烘托情绪；反笕和拔弦使旋律清新悠扬；吟音、勾揉使曲调深沉醇朴，清幽典雅；顿音似马蹄轻踏；泛音使意境深远，韵味无穷；弹轮密集紧凑，多用于时值较短的音符，使之轻巧明快；滑拔模仿流水，浪花声，强如瀑布飞溅，波涛汹涌，弱似霏霏细雨中流淌的小溪；分解和弦则宛如微波荡漾的湖面上闪烁的粼粼波光，常用于描绘秀丽的山河景色和大自然的迷人风光；鼓音、木音、摘音、才音、击板模拟打击乐音响，强如节日里鸣锣道鼓，弱似深山远寺和钟鼓楼里飘逸出的仙声雅乐；指套滑音既获琴瑟之韵，高雅清音，又可模仿莺啼燕转，瑟瑟风声和惊涛拍岸。惟妙惟肖，如诗如画。在乐曲中准确、洗练、灵活、巧妙运用扬琴的这些技法，能够增强演奏的艺术感染力。

5. 推荐曲目

《欢乐的火把节》：刘希圣作曲。一年一度的火把节是彝族人民重要的传统节日之一。这天晚上，人们纷纷点起火把尽情歌舞，山寨成了火把的海洋、欢乐的海洋，青年男女们也借此互诉衷扬。乐曲描绘了这一动人的民族风情，具有彝族风味的主题极具动感。乐曲的旋律从轻快到热烈奔放，展示了人们手擎火把载歌载舞的情景，时而温柔轻捷、时而优美明朗的曲调，犹如青年们的绵绵情话。结尾时强烈的节奏酣畅地描绘出狂欢的场面，让听者不禁沉醉于节日的喜庆之中。

《弹词三六》：扬琴独奏曲。原为江南民间乐曲《梅花三弄》，与琴曲《梅花三弄》同名异曲。《三六》可能是该曲第三段《三叠落梅》中《三落》的上海方言谐音。乐谱最早载于1895年李芳园编的《南北派十三套大曲琵琶新谱》。曾以丝竹乐合奏形式在江南各地广泛流传。在评弹演唱前常用琵琶、三弦作为开场音乐演奏，故称《弹词三六》。经项祖华改编为扬琴曲。全曲共分十一小段，合头段落在曲中反复穿插出现五次，构成循环体的结构特点。乐曲旋律活泼流畅，表现出热烈欢快的情绪。

《林冲夜奔》：题材选自中国古典名著《水浒》及其同名折子戏，作者以具有民族气质和中国特色的音乐思维方式，生动地阐述了《水浒》英雄林冲蒙冤落难，怒火满腔，顶风踏雪、战胜险阻，夜奔梁山的故事。乐曲前部分节奏较慢、自由舒缓，低音区和高音区的旋律交替进行，犹如叹息和悲愤交加，接着转入较快旋律，呈现出林冲惶恐不安的焦躁心理；乐曲结尾紧凑而坚定，表现出林冲最后突破重重险阻，满怀信心地奔向梁山。

6. 发展现状 扬琴在当代中国的发展呈现出多元态势，专业教育不断深化，演奏技巧日益丰富（黄河，2006）。从20 世纪50 年代以来，中国九所高等音乐院校、五十余所艺术院校、师范院校、民族学院相继开办扬琴专业，扬琴教学由民间化、业余化走向规范化、专业化。同时，还建立了音乐学院、部分小学，形成了较为完整、具有特色的音乐教育系统。中国音乐学院于1985年第一批招收扬琴硕士生，这标志着中国扬琴教学得到了进一步的深化和发展。近年来，国家文化部组织了全国美术学院扬琴教学讨论会，促进了扬琴专业的教学和科研工作。近年来，各美术学院对扬琴教材的建设十分重视，并相继出版了一大批扬琴传统与创作曲集、有关技术训练与弹奏方法的书籍、理论作品。然而，扬琴理论的研究仅限于对中国扬琴本身进行的纵向研究，今后要发挥其专业优势与潜力。在大力发展职业音乐教育的同时，还应大力推广业余音乐，只有“两手抓”，才能使扬琴艺术得到真正的发展和繁荣。

那么应该如何弘扬扬琴文化呢？第一，加强宣传教育。通过举办音乐会、展览等活动，让更多人了解扬琴文化的独特魅力和深厚内涵。同时，可以利用新媒体等渠道，扩大扬琴文化的传播范围（李玲玲，2019）。第二，培养人才。加强扬琴教育，培养更多优秀的扬琴演奏家和教育家。通过设立奖学金、举办比赛等方式，激励更多的年轻人投身到扬琴艺术的传承与发展中来。第三，推动创新发展。鼓励音乐家和艺术家在传承扬琴文化的基础上，进行创新和探索。通过跨界合作、融合创新等方式，推动扬琴文化与现代社会的融合与发展。


问题：

1. 扬琴起源于哪里？何时传入中国？

2. 扬琴的结构由哪些部分组成？

3. 常用扬琴有哪几种类型？其音域分别是怎样的？

4. 扬琴有哪些演奏技巧？

5. 如何弘扬扬琴文化？


答案：

1. 扬琴起源于古代中东国家（如亚述、波斯等）的桑图尔琴，于明朝万历八年（1580 年）从波斯经海路传入中国。

2. 扬琴由共鸣箱、山口、马子、琴弦、琴竹、弦钉和弦轴等构成。

3. 常用扬琴有八音（实发二十四音，音域 f1—c2）、十音（实发三十音，音域 d1—d3）、十二音（实发三十六音，音域 c—e3）三种类型。

4. 扬琴演奏技巧大致可分为七类，包括单音、双音、轮音、弹轮、分解和弦、两声部配置和色彩技巧等，其中单音技术和轮音是基本核心技巧。

5. 弘扬扬琴文化可以从以下方面着手：第一，加强宣传教育，通过举办音乐会、展览等活动，利用新媒体等渠道扩大其文化传播范围，让更多人了解扬琴文化的独特魅力和深厚内涵；第二，培养人才，加强扬琴教育，通过设立奖学金、举办比赛等方式，激励年轻人投身扬琴艺术的传承与发展，培养更多优秀的扬琴演奏家和教育家；第三，推动创新发展，鼓励音乐家和艺术家在传承扬琴文化基础上进行创新探索，通过跨界合作、融合创新等方式，推动扬琴文化与现代社会的融合与发展。


参考文献：

黄河，中国扬琴艺术发展与思考 [J]. 人民音乐，2006 (8): 52-54.

李玲玲，扬琴文化的传承与创新策略 [J]. 音乐创作，2019 (5): 160-162.

Douglas, N. The Yangqin in China: An Instrument of Cultural Exchange[J]. Asian Music, 2004, 35(2): 79-104.

Liu, X. & Zhang, Y. The Performance Techniques and Expressive Meanings of the Yangqin in Chinese Folk Music[J]. Ethnomusicology Forum, 2015, 24(3): 335-358.

Nettl, B. Heartland Excursions: Ethnomusicological Reflections on Schools of Music[J]. Yearbook for Traditional Music, 1995, 27: 1-30.

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