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胡(hu)(hu)琴(qin)，又稱鄉胡(hu)(hu)、稽(ji)(同奚)琴(qin)。歷史(shi)悠久、形(xing)制古樸。發(fa)音柔美，音色動聽。可用于(yu)獨奏(zou)、合奏(zou)或(huo)為歌舞伴(ban)奏(zou)。流(liu)行(xing)(xing)于(yu)遼寧、吉(ji)林(lin)、黑龍江等省，尤以吉(ji)林(lin)省延邊(bian)朝(chao)(chao)鮮族自治州盛行(xing)(xing)。流(liu)行(xing)(xing)于(yu)吉(ji)林(lin)省延邊(bian)朝(chao)(chao)鮮族自治州。唐宋時期(qi)的(de)胡(hu)(hu)琴(qin)曾傳入朝(chao)(chao)鮮。朝(chao)(chao)鮮成伣編《樂學軌范(fan)》（有1494年(nian)序(xu)）載(zai)：“……以黜檀花木（刮青皮）或(huo)烏(wu)竹(zhu)海竹(zhu)弓馬尾弦，用松(song)脂軋之。按用左手(shou)，軋用右手(shou)，只奏(zou)鄉樂”。

現代(dai)(dai)胡(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)，全長(chang)60厘米。琴(qin)(qin)(qin)(qin)筒木(mu)(mu)或竹(zhu)制，有(you)半圓球形和長(chang)筒形兩種。前口蒙桐(tong)木(mu)(mu)薄板。琴(qin)(qin)(qin)(qin)桿木(mu)(mu)制，琴(qin)(qin)(qin)(qin)頭呈彎月狀(zhuang)、無飾(shi)，兩軸(zhou)置于(yu)琴(qin)(qin)(qin)(qin)桿上部右側、與琴(qin)(qin)(qin)(qin)筒呈平行，軸(zhou)頂旋成葫蘆形。張兩條(tiao)絲弦(xian)(xian)(xian)(xian)(xian)或鋼絲弦(xian)(xian)(xian)(xian)(xian)。五度定弦(xian)(xian)(xian)(xian)(xian)A、e，音(yin)(yin)域 A—a1。遠在古代(dai)(dai)，中原的(de)(de)(de)(de)漢(han)族(zu)(zu)人民，把居住(zhu)在北(bei)(bei)方(fang)和西(xi)北(bei)(bei)方(fang)的(de)(de)(de)(de)少數民族(zu)(zu)統稱(cheng)(cheng)為(wei)(wei)(wei)胡(hu)(hu)(hu)，對他(ta)們所(suo)用(yong)的(de)(de)(de)(de)樂(le)(le)器(qi)(qi)、音(yin)(yin)樂(le)(le)以(yi)及服飾(shi)等，也都冠以(yi)胡(hu)(hu)(hu)字(zi)。《后漢(han)書(shu)·五行志》中有(you)：“靈帝(di)好胡(hu)(hu)(hu)服、……胡(hu)(hu)(hu)箜(kong)篌、胡(hu)(hu)(hu)笛、胡(hu)(hu)(hu)舞，……”。漢(han)劉熙《釋名》載：“批把本出于(yu)胡(hu)(hu)(hu)中”之(zhi)(zhi)句(ju)，琵琶以(yi)出胡(hu)(hu)(hu)中，而(er)(er)名胡(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)。唐初(chu)(chu)四川射洪大(da)詩人陳(chen)子昂，曾(ceng)以(yi)千金買一(yi)胡(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)，即是(shi)琵琶，直至唐宋之(zhi)(zhi)時(shi)，對琵琶、忽雷等彈(dan)弦(xian)(xian)(xian)(xian)(xian)樂(le)(le)器(qi)(qi)，還(huan)稱(cheng)(cheng)之(zhi)(zhi)為(wei)(wei)(wei)胡(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)。胡(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)是(shi)中國古代(dai)(dai)北(bei)(bei)方(fang)、西(xi)北(bei)(bei)方(fang)少數民族(zu)(zu)所(suo)用(yong)樂(le)(le)器(qi)(qi)的(de)(de)(de)(de)統稱(cheng)(cheng)，近代(dai)(dai)才作為(wei)(wei)(wei)胡(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)類(lei)拉弦(xian)(xian)(xian)(xian)(xian)樂(le)(le)器(qi)(qi)的(de)(de)(de)(de)專稱(cheng)(cheng)。胡(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)始(shi)于(yu)唐代(dai)(dai)。在宋代(dai)(dai)音(yin)(yin)樂(le)(le)理論家陳(chen)旸(yang)于(yu)公元(yuan)1099年所(suo)著(zhu)的(de)(de)(de)(de)《樂(le)(le)書(shu)》(卷一(yi)二八)中載有(you)：“胡(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)本胡(hu)(hu)(hu)樂(le)(le)也，出于(yu)弦(xian)(xian)(xian)(xian)(xian)鼗(tao)(tao)而(er)(er)形亦類(lei)焉(yan)，奚(xi)(xi)(xi)(xi)部所(suo)好之(zhi)(zhi)樂(le)(le)也。蓋(gai)其制，兩弦(xian)(xian)(xian)(xian)(xian)間以(yi)竹(zhu)片(pian)軋(ya)之(zhi)(zhi)，至今民間用(yong)焉(yan)。”據書(shu)中所(suo)示(shi)，兩弦(xian)(xian)(xian)(xian)(xian)軸(zhou)的(de)(de)(de)(de)裝置方(fang)向與今日二胡(hu)(hu)(hu)相(xiang)反，不(bu)用(yong)千斤。奚(xi)(xi)(xi)(xi)族(zu)(zu)在南北(bei)(bei)朝時(shi)稱(cheng)(cheng)庫(ku)莫奚(xi)(xi)(xi)(xi)，居住(zhu)在我(wo)國東北(bei)(bei)地區的(de)(de)(de)(de)西(xi)拉木(mu)(mu)倫河流(liu)域，唐末之(zhi)(zhi)時(shi)，一(yi)部分奚(xi)(xi)(xi)(xi)人西(xi)徙媯州(zhou)(今河北(bei)(bei)省懷來縣)，別稱(cheng)(cheng)西(xi)奚(xi)(xi)(xi)(xi)，五代(dai)(dai)十國時(shi)，東、西(xi)奚(xi)(xi)(xi)(xi)漸與契(qi)丹人相(xiang)融合。據陳(chen)旸(yang)所(suo)考(kao)，胡(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)當為(wei)(wei)(wei)唐代(dai)(dai)末年我(wo)國北(bei)(bei)方(fang)西(xi)奚(xi)(xi)(xi)(xi)所(suo)用(yong)的(de)(de)(de)(de)一(yi)種樂(le)(le)器(qi)(qi)。它(ta)是(shi)在古代(dai)(dai)彈(dan)弦(xian)(xian)(xian)(xian)(xian)樂(le)(le)器(qi)(qi)弦(xian)(xian)(xian)(xian)(xian)鼗(tao)(tao)的(de)(de)(de)(de)基礎上衍變發(fa)展(zhan)而(er)(er)成的(de)(de)(de)(de)，其演奏方(fang)法(fa)與軋(ya)箏相(xiang)似，完全是(shi)受到唐初(chu)(chu)漢(han)族(zu)(zu)軋(ya)箏的(de)(de)(de)(de)影響所(suo)致(zhi)，不(bu)同(tong)之(zhi)(zhi)處(chu)是(shi)胡(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)只(zhi)有(you)兩條(tiao)琴(qin)(qin)(qin)(qin)弦(xian)(xian)(xian)(xian)(xian)，軋(ya)時(shi)竹(zhu)片(pian)不(bu)在弦(xian)(xian)(xian)(xian)(xian)的(de)(de)(de)(de)上(外)面而(er)(er)處(chu)于(yu)兩弦(xian)(xian)(xian)(xian)(xian)之(zhi)(zhi)間。

歷史

胡琴(qin)(qin)在(zai)唐(tang)宋時(shi)期，既是拉弦(xian)(xian)(xian)、又是彈(dan)(dan)弦(xian)(xian)(xian)樂(le)器(qi)(qi)，兩(liang)種演奏(zou)(zou)方法兼而有之。與陳(chen)旸同(tong)一(yi)(yi)(yi)時(shi)代的(de)北(bei)宋文人歐陽(yang)修(xiu)，在(zai)他的(de)《試院聞胡琴(qin)(qin)作(zuo)》一(yi)(yi)(yi)詩中(zhong)寫道：“胡琴(qin)(qin)本出胡人樂(le)，奚(xi)奴彈(dan)(dan)之雙淚落”。演奏(zou)(zou)方法則是彈(dan)(dan)撥，沒有“用竹片軋(ya)之”的(de)含意。在(zai)另一(yi)(yi)(yi)首詩中(zhong)有著(zhu)頗為詳盡的(de)記(ji)載(zai)：“奚(xi)人作(zuo)琴(qin)(qin)便馬上，弦(xian)(xian)(xian)以雙繭(jian)絕清壯(zhuang)。高(gao)堂一(yi)(yi)(yi)聽(ting)風雪寒，坐(zuo)客低回為凄愴(chuang)。深入洞簫抗如(ru)歌，眾音疑是此多，可(ke)憐繁手無斷續(xu)，誰道絲聲不(bu)如(ru)竹。”這里顯然描寫的(de)是兩(liang)弦(xian)(xian)(xian)彈(dan)(dan)撥樂(le)器(qi)(qi)胡琴(qin)(qin)。可(ke)見，唐(tang)宋兩(liang)代，胡琴(qin)(qin)正(zheng)處于(yu)由彈(dan)(dan)弦(xian)(xian)(xian)樂(le)器(qi)(qi)向拉弦(xian)(xian)(xian)樂(le)器(qi)(qi)過(guo)渡的(de)時(shi)期。

宋(song)(song)(song)(song)代(dai)的(de)(de)(de)(de)胡(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)又稱稽(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)。宋(song)(song)(song)(song)代(dai)高承公(gong)元(yuan)(yuan)1080年(nian)(nian)撰輯的(de)(de)(de)(de)《事物紀原》中(zhong)(zhong)(zhong)(zhong)有(you)(you)(you)：“杜(du)摯(zhi)賦序曰：秦(qin)末(mo)人(ren)苦長(chang)城(cheng)之(zhi)役(yi)，弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)鼗而鼓(gu)之(zhi)，記(ji)以為(wei)琵琶(pa)之(zhi)始。按(an)鼗如鼓(gu)而小(xiao)，有(you)(you)(you)柄，長(chang)尺余。然(ran)(ran)則擊弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)于(yu)(yu)(yu)鼓(gu)首而屬之(zhi)于(yu)(yu)(yu)柄末(mo)，與琵琶(pa)極不仿佛(fo)，其(qi)狀今(jin)稽(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)也(ye)。是(shi)(shi)(shi)稽(ji)(ji)(ji)康(kang)(kang)琴(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)為(wei)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)鼗遺象明(ming)(ming)矣。”照此(ci)(ci)記(ji)述，稽(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)在(zai)(zai)北宋(song)(song)(song)(song)之(zhi)時(shi)(shi)，仍靠(kao)彈撥琴(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)來(lai)發(fa)(fa)音，而不是(shi)(shi)(shi)軋(ya)(ya)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)發(fa)(fa)音的(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)(le)器(qi)(qi)(qi)(qi)(qi)(qi)。在(zai)(zai)宋(song)(song)(song)(song)代(dai)陳(chen)元(yuan)(yuan)靚《事林(lin)廣記(ji)》(卷(juan)八(ba))中(zhong)(zhong)(zhong)(zhong)，則明(ming)(ming)確地(di)記(ji)載著稽(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)是(shi)(shi)(shi)拉(la)(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)(qi)(qi)。文(wen)中(zhong)(zhong)(zhong)(zhong)說(shuo)：“稽(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)本(ben)稽(ji)(ji)(ji)康(kang)(kang)所(suo)(suo)制(zhi)(zhi)，故(gu)名稽(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)。二(er)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)，以竹(zhu)片軋(ya)(ya)之(zhi)，其(qi)聲清亮。”把(ba)稽(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)歸于(yu)(yu)(yu)公(gong)元(yuan)(yuan)3世紀的(de)(de)(de)(de)稽(ji)(ji)(ji)康(kang)(kang)所(suo)(suo)制(zhi)(zhi)，顯(xian)然(ran)(ran)是(shi)(shi)(shi)偽(wei)托古(gu)人(ren)的(de)(de)(de)(de)一(yi)(yi)種(zhong)(zhong)附(fu)會，這(zhe)可(ke)能(neng)是(shi)(shi)(shi)陳(chen)氏效其(qi)“阮(ruan)咸(xian)造阮(ruan)”之(zhi)說(shuo)吧。同(tong)(tong)是(shi)(shi)(shi)宋(song)(song)(song)(song)人(ren)，又同(tong)(tong)是(shi)(shi)(shi)記(ji)述稽(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)，卻記(ji)載著兩(liang)種(zhong)(zhong)不同(tong)(tong)的(de)(de)(de)(de)演(yan)奏(zou)(zou)(zou)方法。這(zhe)充分(fen)(fen)說(shuo)明(ming)(ming)，宋(song)(song)(song)(song)代(dai)稽(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)仍處(chu)于(yu)(yu)(yu)由彈弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)(qi)(qi)向(xiang)拉(la)(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)(qi)(qi)的(de)(de)(de)(de)過渡階段(duan)。　宋(song)(song)(song)(song)代(dai)晚期(qi)，中(zhong)(zhong)(zhong)(zhong)國北部邊疆(jiang)地(di)區已(yi)經(jing)開始使用(yong)(yong)(yong)以馬(ma)尾(wei)(wei)(wei)作為(wei)弓(gong)毛(mao)拉(la)(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)擦奏(zou)(zou)(zou)的(de)(de)(de)(de)樂(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)(qi)(qi)了(le)。在(zai)(zai)陜西(xi)(xi)榆林(lin)石窟(ku)第(di)十(shi)(shi)窟(ku)的(de)(de)(de)(de)壁畫中(zhong)(zhong)(zhong)(zhong)，畫有(you)(you)(you)一(yi)(yi)飛天用(yong)(yong)(yong)馬(ma)尾(wei)(wei)(wei)弓(gong)拉(la)(la)(la)(la)奏(zou)(zou)(zou)卷(juan)首、二(er)軫、二(er)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)、圓筒形琴(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)筒的(de)(de)(de)(de)樂(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)(qi)(qi)。此(ci)(ci)窟(ku)年(nian)(nian)代(dai)約當(dang)西(xi)(xi)夏(公(gong)元(yuan)(yuan)1038年(nian)(nian)—1227年(nian)(nian))時(shi)(shi)期(qi)，即與中(zhong)(zhong)(zhong)(zhong)原的(de)(de)(de)(de)宋(song)(song)(song)(song)代(dai)相交錯。在(zai)(zai)山西(xi)(xi)省繁峙(zhi)縣(xian)巖山寺(si)的(de)(de)(de)(de)經(jing)幢(chuang)(為(wei)“特賜廣濟大師(shi)之(zhi)塔”)上，有(you)(you)(you)一(yi)(yi)線刻樂(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)(qi)(qi)圖形，一(yi)(yi)人(ren)正盤腿(tui)而坐，手持馬(ma)尾(wei)(wei)(wei)弓(gong)拉(la)(la)(la)(la)奏(zou)(zou)(zou)。有(you)(you)(you)關學者認為(wei)，繁峙(zhi)在(zai)(zai)元(yuan)(yuan)代(dai)之(zhi)前即為(wei)蒙古(gu)管轄，并以大元(yuan)(yuan)為(wei)年(nian)(nian)號，此(ci)(ci)經(jing)幢(chuang)為(wei)“大元(yuan)(yuan)二(er)十(shi)(shi)三年(nian)(nian)十(shi)(shi)月十(shi)(shi)日”建成，即公(gong)元(yuan)(yuan)1236年(nian)(nian)，也(ye)正值宋(song)(song)(song)(song)代(dai)末(mo)年(nian)(nian)。上述兩(liang)處(chu)之(zhi)樂(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)(qi)(qi)圖像，均與今(jin)日之(zhi)二(er)胡(hu)(hu)維(wei)妙維(wei)肖。這(zhe)種(zhong)(zhong)用(yong)(yong)(yong)馬(ma)尾(wei)(wei)(wei)弓(gong)代(dai)替竹(zhu)片擦弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)發(fa)(fa)音的(de)(de)(de)(de)樂(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)(qi)(qi)，是(shi)(shi)(shi)中(zhong)(zhong)(zhong)(zhong)國北方長(chang)期(qi)過著游牧生(sheng)活的(de)(de)(de)(de)少數民(min)族(zu)的(de)(de)(de)(de)創造，它(ta)是(shi)(shi)(shi)拉(la)(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)(qi)(qi)向(xiang)前發(fa)(fa)展(zhan)(zhan)的(de)(de)(de)(de)一(yi)(yi)個里程(cheng)碑。南宋(song)(song)(song)(song)之(zhi)時(shi)(shi)，胡(hu)(hu)琴(qin)(qin)(qin)(qin)(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)(le)器(qi)(qi)(qi)(qi)(qi)(qi)開始走(zou)上發(fa)(fa)展(zhan)(zhan)時(shi)(shi)期(qi)。中(zhong)(zhong)(zhong)(zhong)國大批制(zhi)(zhi)造樂(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)(qi)(qi)用(yong)(yong)(yong)的(de)(de)(de)(de)絲(si)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)，也(ye)始于(yu)(yu)(yu)南宋(song)(song)(song)(song)遷都臨安(今(jin)杭(hang)州)之(zhi)際，故(gu)絲(si)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)有(you)(you)(you)“杭(hang)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)”之(zhi)稱。在(zai)(zai)當(dang)時(shi)(shi)文(wen)人(ren)的(de)(de)(de)(de)筆(bi)記(ji)、小(xiao)說(shuo)里也(ye)不時(shi)(shi)提(ti)及，在(zai)(zai)《綠(lv)窗新(xin)(xin)語(yu)》中(zhong)(zhong)(zhong)(zhong)的(de)(de)(de)(de)“金彥游春遇春娘(niang)”故(gu)事里，就(jiu)寫有(you)(you)(you)：“金彥與何(he)俞出城(cheng)西(xi)(xi)游春，見一(yi)(yi)庭(ting)院華麗，乃王(wang)太尉莊。貫酒坐閣子(zi)上，彥取二(er)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)軋(ya)(ya)之(zhi)，俞取簫管合(he)(he)奏(zou)(zou)(zou)。”這(zhe)“二(er)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)”即是(shi)(shi)(shi)與胡(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)形制(zhi)(zhi)十(shi)(shi)分(fen)(fen)相似的(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)(le)器(qi)(qi)(qi)(qi)(qi)(qi)。　明(ming)(ming)代(dai)，胡(hu)(hu)琴(qin)(qin)(qin)(qin)(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)(le)器(qi)(qi)(qi)(qi)(qi)(qi)隨著戲劇(ju)和(he)曲藝(yi)的(de)(de)(de)(de)興起而有(you)(you)(you)所(suo)(suo)改進和(he)發(fa)(fa)展(zhan)(zhan)，演(yan)奏(zou)(zou)(zou)形式(shi)也(ye)多(duo)種(zhong)(zhong)多(duo)樣。從明(ming)(ming)嘉靖元(yuan)(yuan)年(nian)(nian)(公(gong)元(yuan)(yuan)1522年(nian)(nian))尤子(zi)求的(de)(de)(de)(de)《麟堂秋宴圖》畫卷(juan)中(zhong)(zhong)(zhong)(zhong)，就(jiu)可(ke)以看到(dao)一(yi)(yi)種(zhong)(zhong)由胡(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)、簫管和(he)拍板(ban)三種(zhong)(zhong)樂(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)(qi)(qi)組(zu)成的(de)(de)(de)(de)合(he)(he)奏(zou)(zou)(zou)形式(shi)，圖中(zhong)(zhong)(zhong)(zhong)所(suo)(suo)繪的(de)(de)(de)(de)胡(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)，是(shi)(shi)(shi)龍(long)首、卷(juan)頸、二(er)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)、馬(ma)尾(wei)(wei)(wei)弓(gong)，而且(qie)有(you)(you)(you)了(le)用(yong)(yong)(yong)以固定弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)長(chang)的(de)(de)(de)(de)千(qian)斤(jin)。這(zhe)在(zai)(zai)陳(chen)旸《樂(le)(le)(le)(le)(le)(le)(le)書(shu)》中(zhong)(zhong)(zhong)(zhong)的(de)(de)(de)(de)胡(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)圖上是(shi)(shi)(shi)沒(mei)有(you)(you)(you)的(de)(de)(de)(de)，但(dan)也(ye)保(bao)留著胡(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)的(de)(de)(de)(de)較(jiao)短琴(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)筒、置軸方向(xiang)和(he)拴(shuan)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)方法。它(ta)較(jiao)南宋(song)(song)(song)(song)《綠(lv)窗新(xin)(xin)語(yu)》中(zhong)(zhong)(zhong)(zhong)的(de)(de)(de)(de)二(er)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)有(you)(you)(you)了(le)較(jiao)大進步，與今(jin)日的(de)(de)(de)(de)朝鮮族(zu)胡(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)和(he)我國福建地(di)區流行(xing)的(de)(de)(de)(de)南音二(er)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)已(yi)較(jiao)為(wei)接近。朝鮮音樂(le)(le)(le)(le)(le)(le)(le)家(jia)成伣編朝鮮古(gu)籍《樂(le)(le)(le)(le)(le)(le)(le)學軌(gui)范》(1494年(nian)(nian)序)中(zhong)(zhong)(zhong)(zhong)載有(you)(you)(you)：“胡(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)，以黜檀花木(刮(gua)青皮)，或烏竹(zhu)、海(hai)竹(zhu)弓(gong)馬(ma)尾(wei)(wei)(wei)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)，用(yong)(yong)(yong)松(song)脂軋(ya)(ya)之(zhi)。按(an)用(yong)(yong)(yong)左手，軋(ya)(ya)用(yong)(yong)(yong)右手，只奏(zou)(zou)(zou)鄉樂(le)(le)(le)(le)(le)(le)(le)。”可(ke)見，胡(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)在(zai)(zai)明(ming)(ming)代(dai)已(yi)傳入(ru)朝鮮。清代(dai)，胡(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)用(yong)(yong)(yong)于(yu)(yu)(yu)宮廷的(de)(de)(de)(de)瓦(wa)爾喀部樂(le)(le)(le)(le)(le)(le)(le)和(he)慶隆樂(le)(le)(le)(le)(le)(le)(le)中(zhong)(zhong)(zhong)(zhong)，而前者還要使用(yong)(yong)(yong)四件胡(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)演(yan)奏(zou)(zou)(zou)。據民(min)間傳說(shuo)，胡(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)(qin)是(shi)(shi)(shi)經(jing)東胡(hu)(hu)人(ren)之(zhi)手傳入(ru)牡丹江鏡泊湖一(yi)(yi)帶及東鏡城(cheng)等地(di)的(de)(de)(de)(de)。后(hou)來(lai)成為(wei)朝鮮族(zu)人(ren)民(min)所(suo)(suo)喜愛的(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)(le)器(qi)(qi)(qi)(qi)(qi)(qi)。

演奏

演奏時采用(yong)坐姿，將琴筒置(zhi)于左腿上，左手(shou)(shou)持琴，常用(yong)食指(zhi)(zhi)、中指(zhi)(zhi)、無(wu)名指(zhi)(zhi)和(he)(he)小指(zhi)(zhi)的(de)(de)(de)第一關節(jie)彎曲(qu)處按弦(xian)，右手(shou)(shou)用(yong)五(wu)指(zhi)(zhi)握弓或(huo)(huo)拇(mu)指(zhi)(zhi)、食指(zhi)(zhi)、中指(zhi)(zhi)握弓、在(zai)兩弦(xian)間(jian)拉(la)奏。胡琴一般(ban)采用(yong)五(wu)度音程關系定(ding)弦(xian)，常定(ding)弦(xian)為A、e或(huo)(huo)c、g，音域A—a1或(huo)(huo)c—c2，有(you)兩個(ge)八度。發音柔和(he)(he)、優美，音色明亮(liang)、動聽，接近漢族(zu)(zu)的(de)(de)(de)中音板(ban)胡。左手(shou)(shou)按弦(xian)為滿手(shou)(shou)握弦(xian)，俗稱(cheng)勾弦(xian)或(huo)(huo)抓弦(xian)，少(shao)換把位，有(you)顫音、打音、滑音等(deng)演奏技巧。民間(jian)樂(le)(le)(le)手(shou)(shou)演奏時，習慣不用(yong)千斤，用(yong)勾、抓弦(xian)轉調。可(ke)用(yong)于獨奏、合(he)奏或(huo)(huo)伴奏，是朝鮮族(zu)(zu)民族(zu)(zu)樂(le)(le)(le)隊中的(de)(de)(de)主要拉(la)弦(xian)樂(le)(le)(le)器。擅長(chang)演奏曲(qu)調悠緩的(de)(de)(de)古(gu)典(dian)樂(le)(le)(le)曲(qu)或(huo)(huo)旋律(lv)歡快的(de)(de)(de)民間(jian)樂(le)(le)(le)曲(qu)。較著名的(de)(de)(de)獨奏曲(qu)有(you)：《紡織(zhi)謠》、《胡琴·散(san)曲(qu)》、《漁(yu)夫(fu)曲(qu)》和(he)(he)《農夫(fu)樂(le)(le)(le)》等(deng)。

改(gai)(gai)革胡(hu)(hu)琴(qin)·四弦胡(hu)(hu)琴(qin)：朝(chao)(chao)鮮族(zu)弓拉弦鳴(ming)樂器。20世紀60年代(dai)，朝(chao)(chao)鮮族(zu)胡(hu)(hu)琴(qin)演奏家李一男(nan)等制作成功改(gai)(gai)革胡(hu)(hu)琴(qin)和四弦胡(hu)(hu)琴(qin)，四弦胡(hu)(hu)琴(qin)有高(gao)音(yin)、中音(yin)和低音(yin)三種(zhong)，已用(yong)于吉林省延邊(bian)朝(chao)(chao)鮮族(zu)自治州專業音(yin)樂藝術團(tuan)體中，是朝(chao)(chao)鮮族(zu)民族(zu)樂隊(dui)的(de)主要拉弦樂器。

改革胡琴：全長65厘(li)(li)米(mi)。琴筒(tong)(tong)(tong)竹制，筒(tong)(tong)(tong)長13厘(li)(li)米(mi)，筒(tong)(tong)(tong)前(qian)(qian)口蒙以桐木(mu)(mu)面(mian)板，面(mian)徑9.5厘(li)(li)米(mi)。琴桿(gan)用(yong)烏(wu)木(mu)(mu)、紫檀或紅木(mu)(mu)制作，為圓(yuan)形(xing)柱(zhu)狀體、琴頭(tou)呈彎月形(xing)朝前(qian)(qian)彎曲，桿(gan)的上部橫置兩(liang)個硬木(mu)(mu)制弦軸，軸頂呈葫蘆(lu)形(xing)或圓(yuan)錐形(xing)，軸長11厘(li)(li)米(mi)，軸頭(tou)裝有金屬螺(luo)旋(又稱直(zhi)行銅(tong)軸)可微調音(yin)高。弦軸下(xia)方設有腰馬(ma)支弦，琴筒(tong)(tong)(tong)下(xia)方增置木(mu)(mu)制底托，使演奏中琴身平穩(wen)。張兩(liang)條鋼絲弦。琴弓用(yong)直(zhi)桿(gan)細竹系以馬(ma)尾而成，弓長80厘(li)(li)。這種改革胡琴，發音(yin)明亮(liang)、圓(yuan)潤，音(yin)色(se)悠揚、悅耳，音(yin)量(liang)也較傳統(tong)胡琴增大，音(yin)域增至三個八(ba)度。可用(yong)于獨奏、合奏或伴奏，尤(you)以獨奏效(xiao)果最佳。

四弦(xian)(xian)(xian)(xian)胡(hu)琴(qin)(qin)：是(shi)胡(hu)琴(qin)(qin)的(de)(de)系(xi)列(lie)樂器新品種(zhong)，它包(bao)括高(gao)音(yin)、中音(yin)和(he)低音(yin)胡(hu)琴(qin)(qin)三種(zhong)。琴(qin)(qin)筒、琴(qin)(qin)桿均(jun)用色木制作，增設了烏木指板。高(gao)音(yin)四弦(xian)(xian)(xian)(xian)胡(hu)琴(qin)(qin)按五度(du)關系(xi)定弦(xian)(xian)(xian)(xian)為(wei)：g、d1、a1、e2，音(yin)域g—c4；中音(yin)四弦(xian)(xian)(xian)(xian)胡(hu)琴(qin)(qin)的(de)(de)定弦(xian)(xian)(xian)(xian)比高(gao)音(yin)胡(hu)琴(qin)(qin)低五度(du)，定弦(xian)(xian)(xian)(xian)為(wei)：c、g、d1、a1，音(yin)域c—a3；低音(yin)四弦(xian)(xian)(xian)(xian)胡(hu)琴(qin)(qin)的(de)(de)定弦(xian)(xian)(xian)(xian)比中音(yin)胡(hu)琴(qin)(qin)低八(ba)度(du)，定弦(xian)(xian)(xian)(xian)為(wei)：C、G、d、a，音(yin)域C—c2。這套(tao) 四弦(xian)(xian)(xian)(xian)胡(hu)琴(qin)(qin)的(de)(de)總音(yin)域C—c4，達五個八(ba)度(du)。適于合奏或伴奏使用，已用于朝鮮族民族樂隊中。

奚胡除在朝鮮(xian)族民間(jian)流(liu)(liu)傳外(wai)，在內蒙古(gu)自治區東部和遼寧、黑龍江(jiang)等省的蒙古(gu)族民間(jian)也有流(liu)(liu)傳。其結(jie)構和奏法均與(yu)朝鮮(xian)族胡琴(qin)近(jin)似，但(dan)形(xing)制較小。琴(qin)桿用色木(mu)(mu)或(huo)硬雜木(mu)(mu)制成(cheng)，長(chang)50厘(li)米。琴(qin)筒用木(mu)(mu)或(huo)金(jin)屬制成(cheng)，筒長(chang)10厘(li)米，前口蒙以(yi)桐木(mu)(mu)薄板為面，面徑7厘(li)米。弦(xian)(xian)(xian)軸(zhou)木(mu)(mu)制，圓錐(zhui)形(xing)。張兩條絲(si)弦(xian)(xian)(xian)或(huo)腸(chang)衣(yi)弦(xian)(xian)(xian)。琴(qin)弓(gong)(gong)用竹片彎成(cheng)弧(hu)形(xing)，兩端系(xi)以(yi)馬尾，弓(gong)(gong)長(chang)40厘(li)米。五度定弦(xian)(xian)(xian)為g、d1，音域g—g1，只有一個(ge)八度。發音柔弱(ruo)，音色渾厚。但(dan)流(liu)(liu)傳不夠(gou)廣泛，現僅個(ge)別民間(jian)老藝人還(huan)有使用。