芒果视频下载

簡介

胡琴(qin)，又(you)稱鄉(xiang)胡、稽(同奚)琴(qin)。歷史悠(you)久(jiu)、形(xing)制(zhi)古樸。發音柔(rou)美(mei)，音色動聽。可用(yong)于(yu)獨奏(zou)、合奏(zou)或為歌(ge)舞(wu)伴奏(zou)。流(liu)行于(yu)遼寧(ning)、吉林(lin)(lin)、黑(hei)龍江等省，尤以(yi)吉林(lin)(lin)省延邊朝(chao)鮮(xian)(xian)族自治州盛行。流(liu)行于(yu)吉林(lin)(lin)省延邊朝(chao)鮮(xian)(xian)族自治州。 唐宋時期的胡琴(qin)曾傳(chuan)入朝(chao)鮮(xian)(xian)。朝(chao)鮮(xian)(xian)成伣編《樂學(xue)軌范》（有1494年序）載：“……以(yi)黜檀花(hua)木（刮青皮(pi)）或烏竹(zhu)海竹(zhu)弓馬尾弦，用(yong)松脂軋之。按用(yong)左手，軋用(yong)右(you)手，只奏(zou)鄉(xiang)樂”。

現(xian)代(dai)(dai)(dai)胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)，全長(chang)60厘(li)米(mi)。琴(qin)筒木或(huo)竹(zhu)制，有(you)半(ban)圓球形(xing)和長(chang)筒形(xing)兩(liang)(liang)(liang)(liang)種。前口蒙(meng)桐木薄(bo)板(ban)。琴(qin)桿木制，琴(qin)頭呈彎月狀、無(wu)飾，兩(liang)(liang)(liang)(liang)軸(zhou)置于(yu)琴(qin)桿上部右側、與(yu)琴(qin)筒呈平(ping)行，軸(zhou)頂旋(xuan)成葫蘆形(xing)。張兩(liang)(liang)(liang)(liang)條絲弦(xian)(xian)或(huo)鋼絲弦(xian)(xian)。五(wu)(wu)度定(ding)弦(xian)(xian)A、e，音域 A—a1。 遠在(zai)(zai)(zai)古(gu)代(dai)(dai)(dai)，中(zhong)原(yuan)的(de)(de)漢(han)族(zu)(zu)人民，把居住在(zai)(zai)(zai)北(bei)方(fang)(fang)和西(xi)北(bei)方(fang)(fang)的(de)(de)少(shao)數民族(zu)(zu)統稱(cheng)(cheng)(cheng)為胡(hu)(hu)(hu)(hu)(hu)(hu)，對他們(men)所(suo)用的(de)(de)樂(le)(le)(le)器(qi)、音樂(le)(le)(le)以(yi)(yi)及服飾等，也(ye)(ye)都(dou)冠以(yi)(yi)胡(hu)(hu)(hu)(hu)(hu)(hu)字。《后漢(han)書(shu)(shu)·五(wu)(wu)行志》中(zhong)有(you)：“靈(ling)帝好胡(hu)(hu)(hu)(hu)(hu)(hu)服、……胡(hu)(hu)(hu)(hu)(hu)(hu)箜篌、胡(hu)(hu)(hu)(hu)(hu)(hu)笛、胡(hu)(hu)(hu)(hu)(hu)(hu)舞(wu)，……”。漢(han)劉(liu)熙《釋名》載：“批把本出(chu)于(yu)胡(hu)(hu)(hu)(hu)(hu)(hu)中(zhong)”之(zhi)句(ju)，琵琶(pa)以(yi)(yi)出(chu)胡(hu)(hu)(hu)(hu)(hu)(hu)中(zhong)，而名胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)。唐(tang)初四川射洪大詩人陳(chen)子昂，曾(ceng)以(yi)(yi)千金買一(yi)胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)，即是(shi)琵琶(pa)，直至(zhi)唐(tang)宋之(zhi)時(shi)，對琵琶(pa)、忽雷等彈弦(xian)(xian)樂(le)(le)(le)器(qi)，還稱(cheng)(cheng)(cheng)之(zhi)為胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)。 胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)是(shi)中(zhong)國古(gu)代(dai)(dai)(dai)北(bei)方(fang)(fang)、西(xi)北(bei)方(fang)(fang)少(shao)數民族(zu)(zu)所(suo)用樂(le)(le)(le)器(qi)的(de)(de)統稱(cheng)(cheng)(cheng)，近代(dai)(dai)(dai)才作(zuo)為胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)類(lei)拉弦(xian)(xian)樂(le)(le)(le)器(qi)的(de)(de)專(zhuan)稱(cheng)(cheng)(cheng)。胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)始于(yu)唐(tang)代(dai)(dai)(dai)。在(zai)(zai)(zai)宋代(dai)(dai)(dai)音樂(le)(le)(le)理論家陳(chen)旸于(yu)公元1099年所(suo)著的(de)(de)《樂(le)(le)(le)書(shu)(shu)》(卷(juan)一(yi)二八)中(zhong)載有(you)：“胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)本胡(hu)(hu)(hu)(hu)(hu)(hu)樂(le)(le)(le)也(ye)(ye)，出(chu)于(yu)弦(xian)(xian)鼗(tao)而形(xing)亦類(lei)焉(yan)，奚(xi)(xi)部所(suo)好之(zhi)樂(le)(le)(le)也(ye)(ye)。蓋其制，兩(liang)(liang)(liang)(liang)弦(xian)(xian)間以(yi)(yi)竹(zhu)片軋之(zhi)，至(zhi)今(jin)民間用焉(yan)。”據(ju)書(shu)(shu)中(zhong)所(suo)示，兩(liang)(liang)(liang)(liang)弦(xian)(xian)軸(zhou)的(de)(de)裝置方(fang)(fang)向與(yu)今(jin)日二胡(hu)(hu)(hu)(hu)(hu)(hu)相(xiang)反，不(bu)(bu)用千斤。奚(xi)(xi)族(zu)(zu)在(zai)(zai)(zai)南北(bei)朝時(shi)稱(cheng)(cheng)(cheng)庫(ku)莫奚(xi)(xi)，居住在(zai)(zai)(zai)我國東(dong)北(bei)地區的(de)(de)西(xi)拉木倫河流域，唐(tang)末之(zhi)時(shi)，一(yi)部分(fen)奚(xi)(xi)人西(xi)徙媯(gui)州(今(jin)河北(bei)省懷來縣)，別稱(cheng)(cheng)(cheng)西(xi)奚(xi)(xi)，五(wu)(wu)代(dai)(dai)(dai)十國時(shi)，東(dong)、西(xi)奚(xi)(xi)漸與(yu)契丹人相(xiang)融(rong)合(he)。據(ju)陳(chen)旸所(suo)考，胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)當為唐(tang)代(dai)(dai)(dai)末年我國北(bei)方(fang)(fang)西(xi)奚(xi)(xi)所(suo)用的(de)(de)一(yi)種樂(le)(le)(le)器(qi)。它是(shi)在(zai)(zai)(zai)古(gu)代(dai)(dai)(dai)彈弦(xian)(xian)樂(le)(le)(le)器(qi)弦(xian)(xian)鼗(tao)的(de)(de)基礎上衍變(bian)發展而成的(de)(de)，其演(yan)奏方(fang)(fang)法與(yu)軋箏(zheng)相(xiang)似，完全是(shi)受到唐(tang)初漢(han)族(zu)(zu)軋箏(zheng)的(de)(de)影響所(suo)致，不(bu)(bu)同之(zhi)處是(shi)胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)只有(you)兩(liang)(liang)(liang)(liang)條琴(qin)弦(xian)(xian)，軋時(shi)竹(zhu)片不(bu)(bu)在(zai)(zai)(zai)弦(xian)(xian)的(de)(de)上(外)面而處于(yu)兩(liang)(liang)(liang)(liang)弦(xian)(xian)之(zhi)間。

歷史

胡(hu)琴(qin)在唐宋(song)時期，既(ji)是(shi)拉弦(xian)、又是(shi)彈(dan)弦(xian)樂(le)(le)(le)(le)器，兩(liang)(liang)種演奏(zou)方(fang)法兼而有之(zhi)。與陳旸同一(yi)時代的(de)北宋(song)文人(ren)(ren)歐陽修，在他的(de)《試院聞胡(hu)琴(qin)作》一(yi)詩(shi)中(zhong)寫道：“胡(hu)琴(qin)本(ben)出胡(hu)人(ren)(ren)樂(le)(le)(le)(le)，奚奴(nu)彈(dan)之(zhi)雙(shuang)淚落”。演奏(zou)方(fang)法則是(shi)彈(dan)撥，沒有“用(yong)竹片(pian)軋之(zhi)”的(de)含意。在另一(yi)首詩(shi)中(zhong)有著頗為詳盡(jin)的(de)記(ji)載：“奚人(ren)(ren)作琴(qin)便馬上，弦(xian)以(yi)雙(shuang)繭絕清(qing)壯。高堂(tang)一(yi)聽(ting)風雪寒，坐客(ke)低回為凄(qi)愴。深入(ru)洞(dong)簫抗如(ru)歌，眾音疑是(shi)此多(duo)，可憐繁手無斷續，誰(shui)道絲聲(sheng)不如(ru)竹。”這里顯然描(miao)寫的(de)是(shi)兩(liang)(liang)弦(xian)彈(dan)撥樂(le)(le)(le)(le)器胡(hu)琴(qin)。可見，唐宋(song)兩(liang)(liang)代，胡(hu)琴(qin)正處于由彈(dan)弦(xian)樂(le)(le)(le)(le)器向(xiang)拉弦(xian)樂(le)(le)(le)(le)器過(guo)渡的(de)時期。

宋代(dai)(dai)(dai)的(de)(de)(de)(de)(de)(de)(de)(de)(de)胡(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)又(you)稱(cheng)稽(ji)(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)。宋代(dai)(dai)(dai)高承公(gong)(gong)元(yuan)1080年(nian)(nian)(nian)(nian)撰輯的(de)(de)(de)(de)(de)(de)(de)(de)(de)《事(shi)物紀原》中(zhong)(zhong)(zhong)有：“杜摯(zhi)賦序曰：秦末(mo)(mo)人(ren)苦長城(cheng)之(zhi)(zhi)(zhi)役，弦(xian)(xian)(xian)鼗(tao)而(er)(er)鼓之(zhi)(zhi)(zhi)，記(ji)以(yi)(yi)(yi)(yi)為(wei)(wei)琵琶(pa)之(zhi)(zhi)(zhi)始(shi)。按(an)鼗(tao)如鼓而(er)(er)小，有柄(bing)，長尺余。然則擊弦(xian)(xian)(xian)于(yu)(yu)鼓首而(er)(er)屬之(zhi)(zhi)(zhi)于(yu)(yu)柄(bing)末(mo)(mo)，與琵琶(pa)極不(bu)仿(fang)佛，其狀今稽(ji)(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)也(ye)(ye)。是(shi)(shi)稽(ji)(ji)(ji)(ji)康(kang)琴(qin)(qin)(qin)(qin)為(wei)(wei)弦(xian)(xian)(xian)鼗(tao)遺象(xiang)明(ming)(ming)矣。”照此(ci)記(ji)述，稽(ji)(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)在(zai)(zai)(zai)北(bei)(bei)宋之(zhi)(zhi)(zhi)時，仍靠彈(dan)撥琴(qin)(qin)(qin)(qin)弦(xian)(xian)(xian)來發(fa)(fa)音(yin)，而(er)(er)不(bu)是(shi)(shi)軋(ya)弦(xian)(xian)(xian)發(fa)(fa)音(yin)的(de)(de)(de)(de)(de)(de)(de)(de)(de)拉(la)(la)弦(xian)(xian)(xian)樂(le)(le)器(qi)(qi)(qi)。在(zai)(zai)(zai)宋代(dai)(dai)(dai)陳元(yuan)靚《事(shi)林(lin)廣記(ji)》(卷(juan)八)中(zhong)(zhong)(zhong)，則明(ming)(ming)確地(di)記(ji)載(zai)(zai)著稽(ji)(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)是(shi)(shi)拉(la)(la)弦(xian)(xian)(xian)樂(le)(le)器(qi)(qi)(qi)。文中(zhong)(zhong)(zhong)說(shuo)：“稽(ji)(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)本稽(ji)(ji)(ji)(ji)康(kang)所(suo)(suo)(suo)制，故(gu)名稽(ji)(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)。二(er)(er)弦(xian)(xian)(xian)，以(yi)(yi)(yi)(yi)竹(zhu)片(pian)軋(ya)之(zhi)(zhi)(zhi)，其聲清亮。”把稽(ji)(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)歸于(yu)(yu)公(gong)(gong)元(yuan)3世紀的(de)(de)(de)(de)(de)(de)(de)(de)(de)稽(ji)(ji)(ji)(ji)康(kang)所(suo)(suo)(suo)制，顯然是(shi)(shi)偽(wei)托古人(ren)的(de)(de)(de)(de)(de)(de)(de)(de)(de)一種(zhong)附會，這可能(neng)是(shi)(shi)陳氏(shi)效(xiao)其“阮咸造阮”之(zhi)(zhi)(zhi)說(shuo)吧。同(tong)是(shi)(shi)宋人(ren)，又(you)同(tong)是(shi)(shi)記(ji)述稽(ji)(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)，卻記(ji)載(zai)(zai)著兩種(zhong)不(bu)同(tong)的(de)(de)(de)(de)(de)(de)(de)(de)(de)演(yan)(yan)奏(zou)(zou)方(fang)法。這充分說(shuo)明(ming)(ming)，宋代(dai)(dai)(dai)稽(ji)(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)仍處于(yu)(yu)由彈(dan)弦(xian)(xian)(xian)樂(le)(le)器(qi)(qi)(qi)向拉(la)(la)弦(xian)(xian)(xian)樂(le)(le)器(qi)(qi)(qi)的(de)(de)(de)(de)(de)(de)(de)(de)(de)過渡(du)階段(duan)。 　 宋代(dai)(dai)(dai)晚期(qi)，中(zhong)(zhong)(zhong)國(guo)北(bei)(bei)部(bu)邊疆地(di)區(qu)已經開始(shi)使(shi)用(yong)(yong)(yong)(yong)(yong)以(yi)(yi)(yi)(yi)馬(ma)尾(wei)作為(wei)(wei)弓(gong)毛拉(la)(la)弦(xian)(xian)(xian)擦奏(zou)(zou)的(de)(de)(de)(de)(de)(de)(de)(de)(de)樂(le)(le)器(qi)(qi)(qi)了(le)。在(zai)(zai)(zai)陜西榆林(lin)石窟第十窟的(de)(de)(de)(de)(de)(de)(de)(de)(de)壁(bi)畫中(zhong)(zhong)(zhong)，畫有一飛天用(yong)(yong)(yong)(yong)(yong)馬(ma)尾(wei)弓(gong)拉(la)(la)奏(zou)(zou)卷(juan)首、二(er)(er)軫、二(er)(er)弦(xian)(xian)(xian)、圓(yuan)筒(tong)形(xing)琴(qin)(qin)(qin)(qin)筒(tong)的(de)(de)(de)(de)(de)(de)(de)(de)(de)樂(le)(le)器(qi)(qi)(qi)。此(ci)窟年(nian)(nian)(nian)(nian)代(dai)(dai)(dai)約(yue)當西夏(公(gong)(gong)元(yuan)1038年(nian)(nian)(nian)(nian)—1227年(nian)(nian)(nian)(nian))時期(qi)，即與中(zhong)(zhong)(zhong)原的(de)(de)(de)(de)(de)(de)(de)(de)(de)宋代(dai)(dai)(dai)相(xiang)交錯。在(zai)(zai)(zai)山西省(sheng)繁峙縣巖山寺的(de)(de)(de)(de)(de)(de)(de)(de)(de)經幢(為(wei)(wei)“特(te)賜廣濟大(da)師之(zhi)(zhi)(zhi)塔”)上(shang)，有一線刻(ke)樂(le)(le)器(qi)(qi)(qi)圖(tu)(tu)(tu)形(xing)，一人(ren)正盤(pan)腿而(er)(er)坐，手(shou)持馬(ma)尾(wei)弓(gong)拉(la)(la)奏(zou)(zou)。有關(guan)學(xue)者(zhe)認為(wei)(wei)，繁峙在(zai)(zai)(zai)元(yuan)代(dai)(dai)(dai)之(zhi)(zhi)(zhi)前即為(wei)(wei)蒙古管(guan)轄，并以(yi)(yi)(yi)(yi)大(da)元(yuan)為(wei)(wei)年(nian)(nian)(nian)(nian)號，此(ci)經幢為(wei)(wei)“大(da)元(yuan)二(er)(er)十三年(nian)(nian)(nian)(nian)十月(yue)十日”建(jian)成(cheng)(cheng)，即公(gong)(gong)元(yuan)1236年(nian)(nian)(nian)(nian)，也(ye)(ye)正值(zhi)宋代(dai)(dai)(dai)末(mo)(mo)年(nian)(nian)(nian)(nian)。上(shang)述兩處之(zhi)(zhi)(zhi)樂(le)(le)器(qi)(qi)(qi)圖(tu)(tu)(tu)像，均與今日之(zhi)(zhi)(zhi)二(er)(er)胡(hu)(hu)(hu)(hu)(hu)維(wei)妙維(wei)肖。這種(zhong)用(yong)(yong)(yong)(yong)(yong)馬(ma)尾(wei)弓(gong)代(dai)(dai)(dai)替竹(zhu)片(pian)擦弦(xian)(xian)(xian)發(fa)(fa)音(yin)的(de)(de)(de)(de)(de)(de)(de)(de)(de)樂(le)(le)器(qi)(qi)(qi)，是(shi)(shi)中(zhong)(zhong)(zhong)國(guo)北(bei)(bei)方(fang)長期(qi)過著游牧生活的(de)(de)(de)(de)(de)(de)(de)(de)(de)少(shao)數民族的(de)(de)(de)(de)(de)(de)(de)(de)(de)創(chuang)造，它是(shi)(shi)拉(la)(la)弦(xian)(xian)(xian)樂(le)(le)器(qi)(qi)(qi)向前發(fa)(fa)展(zhan)的(de)(de)(de)(de)(de)(de)(de)(de)(de)一個里程(cheng)碑。 南(nan)(nan)宋之(zhi)(zhi)(zhi)時，胡(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)類拉(la)(la)弦(xian)(xian)(xian)樂(le)(le)器(qi)(qi)(qi)開始(shi)走上(shang)發(fa)(fa)展(zhan)時期(qi)。中(zhong)(zhong)(zhong)國(guo)大(da)批(pi)制造樂(le)(le)器(qi)(qi)(qi)用(yong)(yong)(yong)(yong)(yong)的(de)(de)(de)(de)(de)(de)(de)(de)(de)絲弦(xian)(xian)(xian)，也(ye)(ye)始(shi)于(yu)(yu)南(nan)(nan)宋遷都臨安(今杭州)之(zhi)(zhi)(zhi)際，故(gu)絲弦(xian)(xian)(xian)有“杭弦(xian)(xian)(xian)”之(zhi)(zhi)(zhi)稱(cheng)。在(zai)(zai)(zai)當時文人(ren)的(de)(de)(de)(de)(de)(de)(de)(de)(de)筆記(ji)、小說(shuo)里也(ye)(ye)不(bu)時提及，在(zai)(zai)(zai)《綠(lv)窗新語》中(zhong)(zhong)(zhong)的(de)(de)(de)(de)(de)(de)(de)(de)(de)“金彥(yan)(yan)游春(chun)遇春(chun)娘(niang)”故(gu)事(shi)里，就(jiu)寫有：“金彥(yan)(yan)與何俞出城(cheng)西游春(chun)，見一庭(ting)院華麗，乃(nai)王太尉莊。貫(guan)酒坐閣子(zi)上(shang)，彥(yan)(yan)取二(er)(er)弦(xian)(xian)(xian)軋(ya)之(zhi)(zhi)(zhi)，俞取簫管(guan)合(he)奏(zou)(zou)。”這“二(er)(er)弦(xian)(xian)(xian)”即是(shi)(shi)與胡(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)形(xing)制十分相(xiang)似的(de)(de)(de)(de)(de)(de)(de)(de)(de)拉(la)(la)弦(xian)(xian)(xian)樂(le)(le)器(qi)(qi)(qi)。 　 明(ming)(ming)代(dai)(dai)(dai)，胡(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)類拉(la)(la)弦(xian)(xian)(xian)樂(le)(le)器(qi)(qi)(qi)隨著戲劇和(he)曲藝的(de)(de)(de)(de)(de)(de)(de)(de)(de)興起而(er)(er)有所(suo)(suo)(suo)改進和(he)發(fa)(fa)展(zhan)，演(yan)(yan)奏(zou)(zou)形(xing)式(shi)(shi)也(ye)(ye)多(duo)(duo)種(zhong)多(duo)(duo)樣。從明(ming)(ming)嘉靖元(yuan)年(nian)(nian)(nian)(nian)(公(gong)(gong)元(yuan)1522年(nian)(nian)(nian)(nian))尤子(zi)求的(de)(de)(de)(de)(de)(de)(de)(de)(de)《麟堂秋宴(yan)圖(tu)(tu)(tu)》畫卷(juan)中(zhong)(zhong)(zhong)，就(jiu)可以(yi)(yi)(yi)(yi)看到一種(zhong)由胡(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)、簫管(guan)和(he)拍板三種(zhong)樂(le)(le)器(qi)(qi)(qi)組成(cheng)(cheng)的(de)(de)(de)(de)(de)(de)(de)(de)(de)合(he)奏(zou)(zou)形(xing)式(shi)(shi)，圖(tu)(tu)(tu)中(zhong)(zhong)(zhong)所(suo)(suo)(suo)繪的(de)(de)(de)(de)(de)(de)(de)(de)(de)胡(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)，是(shi)(shi)龍(long)首、卷(juan)頸、二(er)(er)弦(xian)(xian)(xian)、馬(ma)尾(wei)弓(gong)，而(er)(er)且有了(le)用(yong)(yong)(yong)(yong)(yong)以(yi)(yi)(yi)(yi)固定弦(xian)(xian)(xian)長的(de)(de)(de)(de)(de)(de)(de)(de)(de)千斤。這在(zai)(zai)(zai)陳旸《樂(le)(le)書》中(zhong)(zhong)(zhong)的(de)(de)(de)(de)(de)(de)(de)(de)(de)胡(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)圖(tu)(tu)(tu)上(shang)是(shi)(shi)沒有的(de)(de)(de)(de)(de)(de)(de)(de)(de)，但也(ye)(ye)保留著胡(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)的(de)(de)(de)(de)(de)(de)(de)(de)(de)較短琴(qin)(qin)(qin)(qin)筒(tong)、置(zhi)軸方(fang)向和(he)拴(shuan)弦(xian)(xian)(xian)方(fang)法。它較南(nan)(nan)宋《綠(lv)窗新語》中(zhong)(zhong)(zhong)的(de)(de)(de)(de)(de)(de)(de)(de)(de)二(er)(er)弦(xian)(xian)(xian)有了(le)較大(da)進步(bu)，與今日的(de)(de)(de)(de)(de)(de)(de)(de)(de)朝(chao)(chao)鮮(xian)族胡(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)和(he)我國(guo)福建(jian)地(di)區(qu)流行(xing)的(de)(de)(de)(de)(de)(de)(de)(de)(de)南(nan)(nan)音(yin)二(er)(er)弦(xian)(xian)(xian)已較為(wei)(wei)接(jie)近。朝(chao)(chao)鮮(xian)音(yin)樂(le)(le)家成(cheng)(cheng)伣編朝(chao)(chao)鮮(xian)古籍《樂(le)(le)學(xue)軌范》(1494年(nian)(nian)(nian)(nian)序)中(zhong)(zhong)(zhong)載(zai)(zai)有：“胡(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)，以(yi)(yi)(yi)(yi)黜檀花木(mu)(刮青皮)，或(huo)烏竹(zhu)、海竹(zhu)弓(gong)馬(ma)尾(wei)弦(xian)(xian)(xian)，用(yong)(yong)(yong)(yong)(yong)松脂軋(ya)之(zhi)(zhi)(zhi)。按(an)用(yong)(yong)(yong)(yong)(yong)左手(shou)，軋(ya)用(yong)(yong)(yong)(yong)(yong)右(you)手(shou)，只(zhi)奏(zou)(zou)鄉樂(le)(le)。”可見，胡(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)在(zai)(zai)(zai)明(ming)(ming)代(dai)(dai)(dai)已傳入朝(chao)(chao)鮮(xian)。清代(dai)(dai)(dai)，胡(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)用(yong)(yong)(yong)(yong)(yong)于(yu)(yu)宮廷的(de)(de)(de)(de)(de)(de)(de)(de)(de)瓦爾喀部(bu)樂(le)(le)和(he)慶隆樂(le)(le)中(zhong)(zhong)(zhong)，而(er)(er)前者(zhe)還要(yao)使(shi)用(yong)(yong)(yong)(yong)(yong)四件(jian)胡(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)演(yan)(yan)奏(zou)(zou)。據民間傳說(shuo)，胡(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)是(shi)(shi)經東胡(hu)(hu)(hu)(hu)(hu)人(ren)之(zhi)(zhi)(zhi)手(shou)傳入牡丹江鏡泊(bo)湖一帶及東鏡城(cheng)等地(di)的(de)(de)(de)(de)(de)(de)(de)(de)(de)。后來成(cheng)(cheng)為(wei)(wei)朝(chao)(chao)鮮(xian)族人(ren)民所(suo)(suo)(suo)喜(xi)愛的(de)(de)(de)(de)(de)(de)(de)(de)(de)拉(la)(la)弦(xian)(xian)(xian)樂(le)(le)器(qi)(qi)(qi)。

演奏

演奏(zou)(zou)時采用(yong)(yong)坐姿，將(jiang)琴筒(tong)置于左(zuo)腿上，左(zuo)手持(chi)琴，常用(yong)(yong)食指(zhi)、中(zhong)(zhong)指(zhi)、無(wu)名指(zhi)和小指(zhi)的(de)(de)第(di)一關節彎曲(qu)處按(an)弦(xian)(xian)，右手用(yong)(yong)五指(zhi)握弓或(huo)拇指(zhi)、食指(zhi)、中(zhong)(zhong)指(zhi)握弓、在兩弦(xian)(xian)間拉(la)奏(zou)(zou)。胡(hu)琴一般采用(yong)(yong)五度(du)音(yin)(yin)(yin)程關系(xi)定弦(xian)(xian)，常定弦(xian)(xian)為(wei)A、e或(huo)c、g，音(yin)(yin)(yin)域A—a1或(huo)c—c2，有兩個八(ba)度(du)。發音(yin)(yin)(yin)柔和、優美，音(yin)(yin)(yin)色明亮、動聽(ting)，接近漢族的(de)(de)中(zhong)(zhong)音(yin)(yin)(yin)板胡(hu)。左(zuo)手按(an)弦(xian)(xian)為(wei)滿手握弦(xian)(xian)，俗稱勾弦(xian)(xian)或(huo)抓(zhua)弦(xian)(xian)，少換(huan)把位，有顫音(yin)(yin)(yin)、打音(yin)(yin)(yin)、滑音(yin)(yin)(yin)等演奏(zou)(zou)技巧。民(min)(min)間樂(le)(le)手演奏(zou)(zou)時，習慣(guan)不(bu)用(yong)(yong)千斤，用(yong)(yong)勾、抓(zhua)弦(xian)(xian)轉調(diao)。可(ke)用(yong)(yong)于獨(du)奏(zou)(zou)、合奏(zou)(zou)或(huo)伴奏(zou)(zou)，是(shi)朝(chao)鮮族民(min)(min)族樂(le)(le)隊(dui)中(zhong)(zhong)的(de)(de)主要拉(la)弦(xian)(xian)樂(le)(le)器。擅長演奏(zou)(zou)曲(qu)調(diao)悠(you)緩的(de)(de)古典樂(le)(le)曲(qu)或(huo)旋律歡快(kuai)的(de)(de)民(min)(min)間樂(le)(le)曲(qu)。較著名的(de)(de)獨(du)奏(zou)(zou)曲(qu)有：《紡織謠》、《胡(hu)琴·散(san)曲(qu)》、《漁夫(fu)曲(qu)》和《農夫(fu)樂(le)(le)》等。

改革(ge)胡(hu)(hu)琴(qin)·四弦(xian)(xian)(xian)胡(hu)(hu)琴(qin)：朝鮮(xian)族(zu)弓拉(la)弦(xian)(xian)(xian)鳴(ming)樂(le)器。20世紀60年代，朝鮮(xian)族(zu)胡(hu)(hu)琴(qin)演奏家李一男等制作成功改革(ge)胡(hu)(hu)琴(qin)和(he)四弦(xian)(xian)(xian)胡(hu)(hu)琴(qin)，四弦(xian)(xian)(xian)胡(hu)(hu)琴(qin)有(you)高音、中音和(he)低音三種，已用于吉(ji)林省(sheng)延邊朝鮮(xian)族(zu)自(zi)治州專業音樂(le)藝術團體(ti)中，是朝鮮(xian)族(zu)民(min)族(zu)樂(le)隊的主要拉(la)弦(xian)(xian)(xian)樂(le)器。

改革胡(hu)琴(qin)(qin)：全(quan)長(chang)65厘(li)(li)米。琴(qin)(qin)筒(tong)竹制(zhi)(zhi)，筒(tong)長(chang)13厘(li)(li)米，筒(tong)前口蒙以(yi)(yi)桐木(mu)(mu)(mu)(mu)面板，面徑9.5厘(li)(li)米。琴(qin)(qin)桿用烏木(mu)(mu)(mu)(mu)、紫檀或(huo)紅木(mu)(mu)(mu)(mu)制(zhi)(zhi)作，為(wei)圓(yuan)形(xing)柱狀體(ti)、琴(qin)(qin)頭呈彎月形(xing)朝前彎曲，桿的上(shang)部橫置(zhi)兩(liang)個硬(ying)木(mu)(mu)(mu)(mu)制(zhi)(zhi)弦(xian)軸(zhou)，軸(zhou)頂呈葫蘆(lu)形(xing)或(huo)圓(yuan)錐形(xing)，軸(zhou)長(chang)11厘(li)(li)米，軸(zhou)頭裝有(you)金屬螺旋(xuan)(又(you)稱直行(xing)銅(tong)軸(zhou))可微調音(yin)高。弦(xian)軸(zhou)下(xia)方(fang)設(she)有(you)腰(yao)馬(ma)支弦(xian)，琴(qin)(qin)筒(tong)下(xia)方(fang)增置(zhi)木(mu)(mu)(mu)(mu)制(zhi)(zhi)底(di)托，使(shi)演(yan)奏(zou)(zou)中琴(qin)(qin)身平穩(wen)。張兩(liang)條鋼(gang)絲弦(xian)。琴(qin)(qin)弓(gong)(gong)用直桿細竹系以(yi)(yi)馬(ma)尾而成，弓(gong)(gong)長(chang)80厘(li)(li)。這(zhe)種改革胡(hu)琴(qin)(qin)，發(fa)音(yin)明亮、圓(yuan)潤(run)，音(yin)色(se)悠(you)揚、悅耳，音(yin)量也較傳統胡(hu)琴(qin)(qin)增大，音(yin)域增至三個八(ba)度。可用于獨(du)奏(zou)(zou)、合奏(zou)(zou)或(huo)伴(ban)奏(zou)(zou)，尤以(yi)(yi)獨(du)奏(zou)(zou)效果最佳。

四(si)弦(xian)(xian)胡(hu)(hu)琴(qin)：是胡(hu)(hu)琴(qin)的(de)系列樂(le)器新品種(zhong)，它包(bao)括高音、中(zhong)音和低(di)音胡(hu)(hu)琴(qin)三種(zhong)。琴(qin)筒、琴(qin)桿均用(yong)色木制作，增設(she)了(le)烏木指板。高音四(si)弦(xian)(xian)胡(hu)(hu)琴(qin)按五度(du)(du)關系定(ding)弦(xian)(xian)為：g、d1、a1、e2， 音域g—c4；中(zhong)音四(si)弦(xian)(xian)胡(hu)(hu)琴(qin)的(de)定(ding)弦(xian)(xian)比高音胡(hu)(hu)琴(qin)低(di)五度(du)(du)，定(ding)弦(xian)(xian)為：c、g、d1、a1，音域c—a3；低(di)音四(si)弦(xian)(xian)胡(hu)(hu)琴(qin)的(de)定(ding)弦(xian)(xian)比中(zhong)音胡(hu)(hu)琴(qin)低(di)八度(du)(du)，定(ding)弦(xian)(xian)為：C、G、d、a，音域C—c2。這套(tao) 四(si)弦(xian)(xian)胡(hu)(hu)琴(qin)的(de)總音域C—c4，達(da)五個八度(du)(du)。適(shi)于(yu)合(he)奏(zou)或(huo)伴奏(zou)使用(yong)，已用(yong)于(yu)朝鮮族民(min)族樂(le)隊中(zhong)。

奚(xi)胡(hu)(hu)除在(zai)朝(chao)鮮族民間(jian)(jian)流傳外，在(zai)內蒙古(gu)自(zi)治區東部和(he)遼寧、黑龍江等省的(de)蒙古(gu)族民間(jian)(jian)也(ye)有流傳。其(qi)結構(gou)和(he)奏法均與朝(chao)鮮族胡(hu)(hu)琴近似(si)，但形(xing)(xing)制較小。琴桿用色(se)木(mu)或(huo)硬雜木(mu)制成，長(chang)50厘(li)米(mi)(mi)。琴筒(tong)用木(mu)或(huo)金屬制成，筒(tong)長(chang)10厘(li)米(mi)(mi)，前(qian)口蒙以桐木(mu)薄板為面，面徑7厘(li)米(mi)(mi)。弦(xian)軸木(mu)制，圓(yuan)錐形(xing)(xing)。張兩條絲弦(xian)或(huo)腸衣(yi)弦(xian)。琴弓用竹(zhu)片彎成弧形(xing)(xing)，兩端系以馬尾(wei)，弓長(chang)40厘(li)米(mi)(mi)。五(wu)度定弦(xian)為g、d1，音域g—g1，只有一個(ge)八度。發音柔弱，音色(se)渾厚。但流傳不夠廣泛，現僅個(ge)別民間(jian)(jian)老藝人還有使用。