User:Hu Zheng

--Hu Zheng (talk) 04:51, 17 December 2024 (UTC) Hello, my name is Hu Zheng, and I am currently a graduate student in English Translation at Hunan Normal University's Foreign Studies College.

I am proficient in Chinese and English, with an English Proficiency Level Eight certification, and I have a basic understanding of German as my second foreign language. My language skills are complemented by my professional certifications, including the Certificate of English Proficiency Level Four, English Proficiency Level Eight, as well as the CATTI Level II Translation Certificate.

In my free time, I enjoy reading, playing board games, and watching movies, which allows me to unwind and stay culturally engaged.

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伽倻琴 胡筝 引言 在中国民族的大家庭中，素有“白衣民族”的朝鲜族，能歌善舞、讲究礼仪，具有鲜明的民族特点。伽倻琴作为朝鲜族代表性的传统弦乐器，具有很浓的民族色彩。伽倻琴音韵古雅，艺术张力极强。且其演奏形式丰富多样，既可以独奏也可合奏、重奏、伴奏，还可用于弹唱。弱奏、慢奏时如涓涓流水，强奏时铿锵有力、扣人心弦。（吴梦钶2022，186）

伽倻琴的历史起源 伽倻琴是朝鲜族古老的弹弦乐器，早在公元500年左右就已流行在朝鲜半岛。朝鲜古籍《三国史记》载：“伽倻琴，亦法中国乐部筝而为之……伽倻琴虽与筝制度小异，大概似之。”《新多古记》在谈到它的来历时说：早在六世纪，伽倻国与当时我国宋代王朝有通商、文化往来，伽倻国国王嘉实王很喜欢中国古筝，于是下令让朝鲜乐器工匠仿中国筝而造，并以当时的国名来命名，故叫“伽倻琴”。（金利子2010,7）这些文献记载说明，伽倻琴是仿照汉族的筝制造的。新罗朝时期，伽倻琴东传日本(日本称其为新罗琴)。在奈良东大寺的正仓院中，现在还存有一张那时制作的伽倻琴。 伽倻琴流传至今已经有1500多年的历史。古代的传统伽倻琴，有雅乐伽倻琴(又称风流伽倻琴)和俗乐伽倻琴(又称散伽倻琴)之分。雅乐伽倻琴稍宽大，用于演奏官廷庆典、祭祀等的所谓“正乐”；俗乐伽倻琴略窄小，均有12条丝弦，弦下施柱，一弦一柱，柱可移动，可微调琴弦。五声音阶定弦。因为没有底板，音量较小又缺乏表现力。经过若干世纪的流传和改进，朝鲜族人民吸取其他民族乐器的优点，给伽倻琴增加了底板，形成共鸣箱，创制出民族特点鲜明、性能良好的伽倻琴。（360百科，2024）

伽倻琴演奏风格及特点 伽倻琴也是属于弹拨乐器，类似的还有蒙古筝和日本筝，除了演奏方式不一样之外，都是横弹类乐器，并且都是一弦一柱。古代时期的伽倻琴是一整块木头，制作成槽型，没有底板，因此伽倻琴的音量很小，表现力差。现在使用的伽倻琴是经过吸取其他民族乐器的优点改制而成的，增加了底板产生了共鸣，因此丰富了伽倻琴的音色，使演奏时并不是那么的晦涩。伽倻琴种类可分为正乐伽倻琴、散调伽倻琴、21弦、23弦、25弦伽倻琴，我们多数用的是当代25弦伽倻琴，因为25弦的伽倻琴音域更宽，演奏时会有更多的表现性。在演奏伽倻琴时要注意，琴的一端放于膝上，一端着地，左手按弦，右手取音，既可独奏，也可以用于歌唱伴奏。其中最具代表性的就是伽倻琴的散调，散调是一种器乐独奏形式，多以说唱为主，演奏时间长，技巧性高，并多带有演奏者自己的即兴去演奏。尤其在左手按弦上更为讲究，按弦的强度，速度都会使整个乐曲有不一样的形式，从而产生不同的风格特色，也因此形成不同的流派。伽倻琴的弹唱是它的特色风格，也是朝鲜民族传统的演唱形式，是声乐与器乐相结合的艺术。演奏者边弹边唱，歌声与琴声相融合，深受当地人的喜爱。（张佳奕2024，75）伽倻琴代表性乐曲之一为《桔梗谣》，朝鲜民族赋予桔梗希望与爱的涵义，同时也将对生活、劳动的热爱融入这首作品中。该曲旋律优美、自然流畅，有着很强的感染力。（叶江钊2024，34）

伽倻琴艺术非遗当代传承现状 伽倻琴艺术于2011年5月被列入国家级非物质文化遗产名录中，随着我国进入了“十四五”文化发展规划时期，在国家和政府大力开发民族文化产业的机遇面前，合理利用地方和民族特色文化资源，在与文化产业和大众市场的对接中将朝鲜族传统音乐加以融入，不仅有利于实现伽倻琴艺术的有效传承，也为同各民族色彩浓厚的音乐文化的交流交往构筑起了桥梁。 近年来，伽倻琴艺术非遗传承保护工作的推进，主要围绕“伽倻琴艺术非遗+传承人+传承基地”“三位一体”保护体系、搭建青少年非遗研学平台、以文化旅游产业推广为途径等方面展开。这些举措为促进朝鲜族伽倻琴艺术的传承与发展起到了重要推动作用。相关文件的发布，充分说明了政府对“非遗”传承保护工作的重视，不论是国家政策还是社会环境，伽倻琴艺术的传承都得到了有力支撑。（王章君2024，77） 如今，伽倻琴在亚洲地区形成了不同风格的音乐形式和流派。作为跨国族群的传统乐器，伽倻琴以音乐演奏的形式推进国际友好交流，已成为彰显优秀传统音乐魅力的一个重要载体。

参考文献 360百科 “伽倻琴艺术”词条. (2024).https://baike.so.com/doc/6423040-6636712.html. 2024 张佳奕.(2024). 伽倻琴与古筝演奏风格的差异性对比.戏剧之家 (03):75-77. 王章君.(2024).“非遗”语境下伽倻琴艺术的传承.当代音乐（06）：77-79. 叶江钊.(2024).古筝伽倻琴重奏编配方法的创新探索.黄河之声（13）：34-37. 金利子.(2010).伽倻琴和伽倻琴音乐：《华乐大典•古筝卷》2010:7. 吴梦钶.(2022).汉族筝衍生之我见——古筝与伽倻琴的比较性研究13（01）：186-188.

术语与表达 白衣民族——white-clothed nation 朝鲜族——Korean ethnic group 弦乐器——string instrument 奈良东大寺——Todai-ji in Nara 正仓院——Shosoin 雅乐伽倻琴——Eumak Gayageum 俗乐伽倻琴——Minak Gayageum 弹拨乐器——plucked string instrument 正乐伽倻琴——Jeongak Gayageum 散调伽倻琴——Sanjo Gayageum

问题与答案 1.伽倻琴有哪些演奏形式？ 答：独奏、合奏、重奏、伴奏、弹唱。 2.伽倻琴什么时候开始流行于朝鲜半岛？ 答：公元500年左右。 3.请说明“伽倻琴”名称的由来。 答：早在六世纪，伽倻国与当时我国宋代王朝有通商、文化往来，伽倻国国王嘉实王很喜欢中国古筝，于是下令让朝鲜乐器工匠仿中国筝而造，并以当时的国名来命名，故叫“伽倻琴”。 4.古代传统的伽倻琴有哪些种类，区别是什么？ 答：雅乐伽倻琴(又称风流伽倻琴)和俗乐伽倻琴(又称散伽倻琴)。雅乐伽倻琴稍宽大，用于演奏官廷庆典、祭祀等的所谓“正乐”；俗乐伽倻琴略窄小，均有12条丝弦，弦下施柱，一弦一柱，柱可移动，可微调琴弦。 5.现代伽倻琴有哪些种类？ 答：正乐伽倻琴、散调伽倻琴、21弦、23弦、25弦伽倻琴。

人工智能声明 我在此保证我没有使用人工智能的帮助来写这门课的期末论文。

Gayageum Hu Zheng Introduction In the big family of Chinese ethnic groups, the Korean ethnic group, known as the "white-clothed nation," is characterized by their singing and dancing abilities, emphasis on etiquette, and distinct ethnic features. The gayageum, as a representative traditional stringed instrument of the Korean ethnic group, carries a strong sense of national color. The sound of the gayageum is ancient and elegant, with great artistic expressiveness. Its playing forms are rich and diverse, suitable for solo, ensemble, chamber music, and accompaniment, as well as for singing while playing. When played softly and slowly, it is like a gentle stream; when played strongly, it is sonorous and stirring. (Wu Mengke 2022, 186) The Historical Origin of the Gayageum The gayageum is an ancient plucked string instrument of the Korean ethnic group, which has been popular on the Korean Peninsula since around 500 AD. According to the historical records of the "Samguk Sagi" ("Historical Records of the Three Kingdoms"), the gayageum was modeled after the Chinese zither (guzheng), with the text stating: "The gayageum, also following the system of the Chinese zither... Although the gayageum differs slightly from the zither in structure, it is generally similar to it." The "Sinda Gogi" mentions that in the sixth century, the Goguryeo kingdom had commercial and cultural exchanges with the Song Dynasty of China. King Gye Seong of Goguryeo was very fond of the Chinese guzheng, so he ordered Korean instrument craftsmen to make an instrument modeled after the Chinese zither, and named it after the name of the kingdom at that time, hence it is called "gayageum". (Jin Lizi 2010,7)These documentary records indicate that the gayageum was made in imitation of the Chinese zither. During the Silla Dynasty, the gayageum was introduced to Japan (referred to as the Silla Gayageum in Japan). In the Shosoin of Todai-ji in Nara, there still exists a gayageum made at that time. The gayageum has a history of more than 1500 years. In ancient times, traditional Gayageums were divided into two types: the Eumak Gayageum (also known as the Elegant Gayageum) and the Minak Gayageum (also known as the Common Gayageum). The Eumak Gayageum, which was slightly larger, was used to play "Jeong-ak" or "court music" for official celebrations and rituals; the Minak Gayageum, which was slightly smaller, had 12 silk strings, with movable bridges under the strings, one for each string, allowing for fine-tuning. The strings were tuned to a pentatonic scale. Due to the lack of a resonator, the volume was relatively low and lacked expressiveness. Over several centuries of evolution and improvement, people of the Korean ethnic group have drawn on the strengths of other ethnic musical instruments, adding a resonator to the gayageum, namely a resonating chamber, and thus creating a gayageum with distinct national characteristics and excellent performance. (360 Encyclopedia, 2024) The Playing Style and Characteristics of the Gayageum The gayageum is a plucked string instrument, similar to the Mongolian zither and the Japanese koto. Besides having different playing methods, they are all horizontal plucked instruments with one string per bridge. In ancient times, the gayageum was made from a single piece of wood, shaped like a trench, without a bottom board, which resulted in a very small volume and poor expressiveness. The gayageum used today has been improved by incorporating the advantages of other ethnic musical instruments, adding a bottom board to create resonance, thus enriching the Gayageum's timbre and making the playing less monotonous. Gayageums can be categorized into Jeongak Gayageum, Sanjo Gayageum, and gayageums with 21, 23, and 25 strings. The most commonly used today is the contemporary 25-string gayageum, as its wider range allows for greater expressiveness in performance. When being played, one end of the gayageum is placed on the knee, and the other touches the ground. The left hand presses the strings, and the right hand plucks them. It can be played solo or as an accompaniment for singing. The most representative is the Sanjo style of Gayageum, which is a solo instrumental form, often narrative in nature, with long performing time, high technicality, and often includes the performer's improvisation. Especially in the left hand's string pressing, the intensity and speed of the pressing will give the entire piece a different form, leading to different stylistic characteristics and the formation of various schools. The combination of singing and playing the gayageum is a distinctive style and a traditional performance form of the Korean ethnic group, combining vocal and instrumental music. The performer sings while playing, blending the voice with the sound of the instrument, which is highly appreciated by the local people. (Zhang Jiayi 2024, 75) One of the representative pieces of the gayageum is "Ballad of Bellflower," which the Korean ethnic group imbues with the meanings of hope and love, as well as passion for life and labor. This piece has a beautiful and naturally flowing melody with a strong appeal. (Ye Jiangzhao 2024, 34) The Current Status of the Contemporary Inheritance of Gayageum Art as an Intangible Cultural Heritage The art of the gayageum has been listed in the national intangible cultural heritage inventory since May 2011. With China entering the "14th Five-Year Plan" period for cultural development, and with the our government vigorously developing the ethnic cultural industry, the rational use of local and ethnic cultural resources, and the integration of traditional Korean ethnic music into the cultural industry and mass market, not only facilitate the effective inheritance of gayageum art but also builds a bridge for exchange and interaction with other ethnic music cultures with strong national colors. In recent years, the promotion of the inheritance and protection of gayageum art has mainly revolved around a "three-in-one" protection system of "gayageum art intangible cultural heritage + inheritors + inheritance bases," the establishment of a intangible cultural heritage research platform for youth, and the promotion of cultural tourism industry as a means. These measures have played an important role in advancing the inheritance and development of Korean gayageum art. The issuance of relevant documents fully demonstrates the government's emphasis on the inheritance and protection of "intangible cultural heritage". Both national policies and the social environment have provided strong support for the inheritance of gayageum art. (Wang Zhangjun 2024, 77) Today, there exist different styles of music and schools of gayageum in Asia. As a traditional musical instrument of a transnational ethnic group, gayageum has become an important carrier for promoting international friendly exchanges through music performance, showcasing the charm of excellent traditional music.

References The Introduction of Gayageum Art on 360 Baike Website. (2024). https://baike.so.com/doc/6423040-6636712.html. 2024 Zhang Jiayi. (2024). A Comparative Analysis of the Differences in Performance Styles between the Gayageum and the Guzheng. Drama House (03): 75-77. Wang Zhangjun. (2024). The Inheritance of Gayageum Art in the Context of Intangible Cultural Heritage. Contemporary Music (06): 77-79. Ye Jiangzhao. (2024). Innovative Exploration of Guzheng and Gayageum Ensemble Arrangement Methods. The Voice of the Yellow River (13): 34-37. Jin Lizi. (2010). Gayageum and Gayageum Music: Huayue Da Dian• Guzheng Volume 2010:7. Wu Mengke. (2022). My Views on the Derivation of the Han Chinese Zither — A Comparative Study of the Guzheng and Gayageum 13(01): 186-188.

Terms and Expressions 白衣民族——white-clothed nation 朝鲜族——Korean ethnic group 弦乐器——string instrument 奈良东大寺——Todai-ji in Nara 正仓院——Shosoin 雅乐伽倻琴——Eumak Gayageum 俗乐伽倻琴——Minak Gayageum 弹拨乐器——plucked string instrument 正乐伽倻琴——Jeongak Gayageum 散调伽倻琴——Sanjo Gayageum

Questions 1. What are the performance forms of the Gayageum? A: Solo, ensemble, chamber music, and accompaniment, and singing while playing. 2. When did the Gayageum become popular on the Korean Peninsula? A: Since around 500 AD. 3. Please explain the origin of the name "Gayageum." A: In the sixth century, the Goguryeo kingdom had commercial and cultural exchanges with the Song Dynasty of China. King Gye Seong of Goguryeo was very fond of the Chinese guzheng, so he ordered Korean instrument craftsmen to make an instrument modeled after the Chinese zither, and named it after the name of the kingdom at that time, hence it is called "gayageum". 4. What are the types of traditional Gayageum, and what are their differences? A: The Eumak Gayageum (also known as the Elegant Gayageum) and the Minak Gayageum (also known as the Common Gayageum). The Eumak Gayageum, which was slightly larger, was used to play "Jeong-ak" or "court music" for official celebrations and rituals; the Minak Gayageum, which was slightly smaller, had 12 silk strings, with movable bridges under the strings, one for each string, allowing for fine-tuning. 5. What are the types of modern Gayageum? A: Jeongak Gayageum, Sanjo Gayageum, and gayageums with 21, 23, and 25 strings.

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