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簡介

胡(hu)琴(qin)，又稱鄉(xiang)胡(hu)、稽(同奚)琴(qin)。歷史悠(you)久(jiu)、形制(zhi)古(gu)樸。發音(yin)柔美，音(yin)色動(dong)聽。可(ke)用于(yu)獨奏(zou)(zou)、合奏(zou)(zou)或(huo)為歌舞伴奏(zou)(zou)。流行(xing)于(yu)遼寧、吉(ji)林(lin)、黑龍江(jiang)等(deng)省(sheng)，尤以(yi)(yi)吉(ji)林(lin)省(sheng)延邊(bian)朝鮮族自(zi)治州盛(sheng)行(xing)。流行(xing)于(yu)吉(ji)林(lin)省(sheng)延邊(bian)朝鮮族自(zi)治州。 唐宋時(shi)期的胡(hu)琴(qin)曾傳(chuan)入朝鮮。朝鮮成伣編《樂(le)學(xue)軌(gui)范》（有1494年序）載：“……以(yi)(yi)黜檀花木（刮青(qing)皮）或(huo)烏(wu)竹海(hai)竹弓馬尾(wei)弦，用松脂(zhi)軋之。按用左手，軋用右手，只奏(zou)(zou)鄉(xiang)樂(le)”。

現代(dai)(dai)(dai)(dai)胡(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)，全長60厘米。琴(qin)(qin)(qin)(qin)(qin)筒木或(huo)竹制，有(you)半(ban)圓球形(xing)和長筒形(xing)兩(liang)(liang)(liang)種。前口(kou)蒙桐(tong)木薄板。琴(qin)(qin)(qin)(qin)(qin)桿木制，琴(qin)(qin)(qin)(qin)(qin)頭(tou)呈彎月狀、無飾，兩(liang)(liang)(liang)軸置(zhi)(zhi)于琴(qin)(qin)(qin)(qin)(qin)桿上部(bu)右(you)側(ce)、與琴(qin)(qin)(qin)(qin)(qin)筒呈平行(xing)，軸頂旋成葫蘆(lu)形(xing)。張(zhang)兩(liang)(liang)(liang)條(tiao)絲(si)弦(xian)(xian)(xian)或(huo)鋼絲(si)弦(xian)(xian)(xian)。五度定弦(xian)(xian)(xian)A、e，音(yin)域 A—a1。 遠(yuan)在古(gu)(gu)代(dai)(dai)(dai)(dai)，中(zhong)原的(de)(de)漢族(zu)(zu)(zu)人(ren)民(min)(min)，把居住在北(bei)(bei)方(fang)(fang)和西(xi)北(bei)(bei)方(fang)(fang)的(de)(de)少(shao)數民(min)(min)族(zu)(zu)(zu)統稱(cheng)為(wei)胡(hu)(hu)(hu)(hu)(hu)，對(dui)他們所(suo)(suo)(suo)用(yong)的(de)(de)樂器(qi)(qi)、音(yin)樂以(yi)及服飾等，也都(dou)冠以(yi)胡(hu)(hu)(hu)(hu)(hu)字。《后漢書(shu)·五行(xing)志》中(zhong)有(you)：“靈帝(di)好胡(hu)(hu)(hu)(hu)(hu)服、……胡(hu)(hu)(hu)(hu)(hu)箜篌、胡(hu)(hu)(hu)(hu)(hu)笛(di)、胡(hu)(hu)(hu)(hu)(hu)舞，……”。漢劉熙《釋名》載：“批把本出于胡(hu)(hu)(hu)(hu)(hu)中(zhong)”之(zhi)句，琵琶(pa)以(yi)出胡(hu)(hu)(hu)(hu)(hu)中(zhong)，而(er)名胡(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)。唐(tang)初(chu)四川射洪大詩人(ren)陳(chen)(chen)子昂，曾以(yi)千金買(mai)一胡(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)，即(ji)是(shi)琵琶(pa)，直至(zhi)唐(tang)宋(song)之(zhi)時，對(dui)琵琶(pa)、忽雷(lei)等彈弦(xian)(xian)(xian)樂器(qi)(qi)，還稱(cheng)之(zhi)為(wei)胡(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)。 胡(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)是(shi)中(zhong)國(guo)古(gu)(gu)代(dai)(dai)(dai)(dai)北(bei)(bei)方(fang)(fang)、西(xi)北(bei)(bei)方(fang)(fang)少(shao)數民(min)(min)族(zu)(zu)(zu)所(suo)(suo)(suo)用(yong)樂器(qi)(qi)的(de)(de)統稱(cheng)，近代(dai)(dai)(dai)(dai)才(cai)作(zuo)為(wei)胡(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)類拉(la)弦(xian)(xian)(xian)樂器(qi)(qi)的(de)(de)專稱(cheng)。胡(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)始于唐(tang)代(dai)(dai)(dai)(dai)。在宋(song)代(dai)(dai)(dai)(dai)音(yin)樂理論家(jia)陳(chen)(chen)旸(yang)于公(gong)元(yuan)1099年(nian)所(suo)(suo)(suo)著(zhu)的(de)(de)《樂書(shu)》(卷一二八)中(zhong)載有(you)：“胡(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)本胡(hu)(hu)(hu)(hu)(hu)樂也，出于弦(xian)(xian)(xian)鼗而(er)形(xing)亦類焉，奚部(bu)所(suo)(suo)(suo)好之(zhi)樂也。蓋其制，兩(liang)(liang)(liang)弦(xian)(xian)(xian)間以(yi)竹片軋之(zhi)，至(zhi)今(jin)民(min)(min)間用(yong)焉。”據書(shu)中(zhong)所(suo)(suo)(suo)示，兩(liang)(liang)(liang)弦(xian)(xian)(xian)軸的(de)(de)裝(zhuang)置(zhi)(zhi)方(fang)(fang)向與今(jin)日二胡(hu)(hu)(hu)(hu)(hu)相反(fan)，不用(yong)千斤(jin)。奚族(zu)(zu)(zu)在南北(bei)(bei)朝時稱(cheng)庫莫奚，居住在我國(guo)東(dong)(dong)北(bei)(bei)地區的(de)(de)西(xi)拉(la)木倫(lun)河流域，唐(tang)末之(zhi)時，一部(bu)分奚人(ren)西(xi)徙(xi)媯州(今(jin)河北(bei)(bei)省懷來縣)，別稱(cheng)西(xi)奚，五代(dai)(dai)(dai)(dai)十國(guo)時，東(dong)(dong)、西(xi)奚漸與契丹人(ren)相融合。據陳(chen)(chen)旸(yang)所(suo)(suo)(suo)考，胡(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)當為(wei)唐(tang)代(dai)(dai)(dai)(dai)末年(nian)我國(guo)北(bei)(bei)方(fang)(fang)西(xi)奚所(suo)(suo)(suo)用(yong)的(de)(de)一種樂器(qi)(qi)。它是(shi)在古(gu)(gu)代(dai)(dai)(dai)(dai)彈弦(xian)(xian)(xian)樂器(qi)(qi)弦(xian)(xian)(xian)鼗的(de)(de)基礎(chu)上衍變(bian)發展而(er)成的(de)(de)，其演奏(zou)方(fang)(fang)法與軋箏(zheng)相似(si)，完(wan)全是(shi)受到唐(tang)初(chu)漢族(zu)(zu)(zu)軋箏(zheng)的(de)(de)影響所(suo)(suo)(suo)致(zhi)，不同(tong)之(zhi)處是(shi)胡(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)只有(you)兩(liang)(liang)(liang)條(tiao)琴(qin)(qin)(qin)(qin)(qin)弦(xian)(xian)(xian)，軋時竹片不在弦(xian)(xian)(xian)的(de)(de)上(外)面而(er)處于兩(liang)(liang)(liang)弦(xian)(xian)(xian)之(zhi)間。

歷史

胡(hu)(hu)(hu)琴(qin)在(zai)唐宋時期，既是(shi)(shi)拉弦(xian)、又(you)是(shi)(shi)彈弦(xian)樂器(qi)，兩種演奏方(fang)法兼而有(you)之。與陳旸(yang)同(tong)一(yi)時代的(de)北宋文人歐陽修，在(zai)他的(de)《試院聞胡(hu)(hu)(hu)琴(qin)作(zuo)》一(yi)詩中寫道：“胡(hu)(hu)(hu)琴(qin)本出胡(hu)(hu)(hu)人樂，奚(xi)奴彈之雙淚落”。演奏方(fang)法則是(shi)(shi)彈撥，沒(mei)有(you)“用竹片軋(ya)之”的(de)含(han)意(yi)。在(zai)另一(yi)首詩中有(you)著頗為詳盡的(de)記載：“奚(xi)人作(zuo)琴(qin)便馬上，弦(xian)以雙繭絕(jue)清(qing)壯。高堂(tang)一(yi)聽風雪(xue)寒(han)，坐(zuo)客低回為凄愴(chuang)。深(shen)入(ru)洞簫抗如歌，眾音(yin)疑是(shi)(shi)此多(duo)，可(ke)憐繁手無斷(duan)續，誰道絲聲不如竹。”這里顯然描寫的(de)是(shi)(shi)兩弦(xian)彈撥樂器(qi)胡(hu)(hu)(hu)琴(qin)。可(ke)見，唐宋兩代，胡(hu)(hu)(hu)琴(qin)正處于由彈弦(xian)樂器(qi)向(xiang)拉弦(xian)樂器(qi)過渡的(de)時期。

宋代(dai)(dai)(dai)(dai)的(de)(de)(de)(de)(de)胡(hu)琴(qin)(qin)(qin)又稱稽(ji)(ji)(ji)琴(qin)(qin)(qin)。宋代(dai)(dai)(dai)(dai)高承公(gong)元(yuan)1080年(nian)(nian)撰輯的(de)(de)(de)(de)(de)《事(shi)物紀(ji)原》中(zhong)(zhong)有(you)(you)：“杜(du)摯(zhi)賦序(xu)曰：秦末人(ren)苦長(chang)城(cheng)(cheng)(cheng)之(zhi)(zhi)(zhi)(zhi)役，弦(xian)(xian)(xian)(xian)(xian)(xian)鼗而(er)(er)(er)(er)鼓(gu)之(zhi)(zhi)(zhi)(zhi)，記以(yi)(yi)(yi)(yi)為(wei)琵琶之(zhi)(zhi)(zhi)(zhi)始(shi)(shi)。按鼗如(ru)鼓(gu)而(er)(er)(er)(er)小，有(you)(you)柄，長(chang)尺余。然則(ze)擊(ji)弦(xian)(xian)(xian)(xian)(xian)(xian)于鼓(gu)首而(er)(er)(er)(er)屬之(zhi)(zhi)(zhi)(zhi)于柄末，與琵琶極不仿佛，其(qi)狀今(jin)稽(ji)(ji)(ji)琴(qin)(qin)(qin)也(ye)。是(shi)(shi)稽(ji)(ji)(ji)康(kang)琴(qin)(qin)(qin)為(wei)弦(xian)(xian)(xian)(xian)(xian)(xian)鼗遺象明(ming)(ming)矣。”照此(ci)記述，稽(ji)(ji)(ji)琴(qin)(qin)(qin)在(zai)北(bei)(bei)宋之(zhi)(zhi)(zhi)(zhi)時(shi)(shi)，仍靠(kao)彈(dan)撥琴(qin)(qin)(qin)弦(xian)(xian)(xian)(xian)(xian)(xian)來發(fa)音，而(er)(er)(er)(er)不是(shi)(shi)軋(ya)(ya)弦(xian)(xian)(xian)(xian)(xian)(xian)發(fa)音的(de)(de)(de)(de)(de)拉(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)器(qi)(qi)(qi)(qi)(qi)(qi)(qi)。在(zai)宋代(dai)(dai)(dai)(dai)陳元(yuan)靚(jing)《事(shi)林廣記》(卷八)中(zhong)(zhong)，則(ze)明(ming)(ming)確地記載(zai)著(zhu)稽(ji)(ji)(ji)琴(qin)(qin)(qin)是(shi)(shi)拉(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)器(qi)(qi)(qi)(qi)(qi)(qi)(qi)。文中(zhong)(zhong)說(shuo)(shuo)：“稽(ji)(ji)(ji)琴(qin)(qin)(qin)本稽(ji)(ji)(ji)康(kang)所制，故名稽(ji)(ji)(ji)琴(qin)(qin)(qin)。二(er)(er)弦(xian)(xian)(xian)(xian)(xian)(xian)，以(yi)(yi)(yi)(yi)竹(zhu)片軋(ya)(ya)之(zhi)(zhi)(zhi)(zhi)，其(qi)聲清亮。”把稽(ji)(ji)(ji)琴(qin)(qin)(qin)歸于公(gong)元(yuan)3世紀(ji)的(de)(de)(de)(de)(de)稽(ji)(ji)(ji)康(kang)所制，顯然是(shi)(shi)偽托古(gu)(gu)人(ren)的(de)(de)(de)(de)(de)一(yi)種附(fu)會，這(zhe)可(ke)能是(shi)(shi)陳氏效其(qi)“阮咸造(zao)(zao)阮”之(zhi)(zhi)(zhi)(zhi)說(shuo)(shuo)吧。同是(shi)(shi)宋人(ren)，又同是(shi)(shi)記述稽(ji)(ji)(ji)琴(qin)(qin)(qin)，卻記載(zai)著(zhu)兩種不同的(de)(de)(de)(de)(de)演(yan)(yan)(yan)奏(zou)(zou)(zou)方(fang)(fang)法。這(zhe)充分說(shuo)(shuo)明(ming)(ming)，宋代(dai)(dai)(dai)(dai)稽(ji)(ji)(ji)琴(qin)(qin)(qin)仍處于由彈(dan)弦(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)器(qi)(qi)(qi)(qi)(qi)(qi)(qi)向拉(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)器(qi)(qi)(qi)(qi)(qi)(qi)(qi)的(de)(de)(de)(de)(de)過(guo)渡階段。 　 宋代(dai)(dai)(dai)(dai)晚期(qi)，中(zhong)(zhong)國(guo)(guo)北(bei)(bei)部(bu)邊(bian)疆地區已經(jing)開始(shi)(shi)使用(yong)(yong)以(yi)(yi)(yi)(yi)馬尾(wei)作為(wei)弓毛拉(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)擦奏(zou)(zou)(zou)的(de)(de)(de)(de)(de)樂(le)(le)(le)(le)器(qi)(qi)(qi)(qi)(qi)(qi)(qi)了(le)(le)。在(zai)陜(shan)西榆林石窟(ku)第十(shi)窟(ku)的(de)(de)(de)(de)(de)壁(bi)畫中(zhong)(zhong)，畫有(you)(you)一(yi)飛(fei)天(tian)用(yong)(yong)馬尾(wei)弓拉(la)(la)(la)奏(zou)(zou)(zou)卷首、二(er)(er)軫(zhen)、二(er)(er)弦(xian)(xian)(xian)(xian)(xian)(xian)、圓(yuan)筒形琴(qin)(qin)(qin)筒的(de)(de)(de)(de)(de)樂(le)(le)(le)(le)器(qi)(qi)(qi)(qi)(qi)(qi)(qi)。此(ci)窟(ku)年(nian)(nian)代(dai)(dai)(dai)(dai)約當(dang)(dang)西夏(xia)(公(gong)元(yuan)1038年(nian)(nian)—1227年(nian)(nian))時(shi)(shi)期(qi)，即(ji)與中(zhong)(zhong)原的(de)(de)(de)(de)(de)宋代(dai)(dai)(dai)(dai)相(xiang)交(jiao)錯。在(zai)山(shan)西省繁(fan)峙(zhi)縣巖山(shan)寺的(de)(de)(de)(de)(de)經(jing)幢(為(wei)“特賜廣濟大(da)師之(zhi)(zhi)(zhi)(zhi)塔”)上，有(you)(you)一(yi)線刻樂(le)(le)(le)(le)器(qi)(qi)(qi)(qi)(qi)(qi)(qi)圖形，一(yi)人(ren)正盤(pan)腿(tui)而(er)(er)(er)(er)坐(zuo)，手(shou)(shou)(shou)持馬尾(wei)弓拉(la)(la)(la)奏(zou)(zou)(zou)。有(you)(you)關(guan)學(xue)者認為(wei)，繁(fan)峙(zhi)在(zai)元(yuan)代(dai)(dai)(dai)(dai)之(zhi)(zhi)(zhi)(zhi)前(qian)即(ji)為(wei)蒙古(gu)(gu)管(guan)轄，并以(yi)(yi)(yi)(yi)大(da)元(yuan)為(wei)年(nian)(nian)號，此(ci)經(jing)幢為(wei)“大(da)元(yuan)二(er)(er)十(shi)三年(nian)(nian)十(shi)月十(shi)日(ri)”建成(cheng)，即(ji)公(gong)元(yuan)1236年(nian)(nian)，也(ye)正值宋代(dai)(dai)(dai)(dai)末年(nian)(nian)。上述兩處之(zhi)(zhi)(zhi)(zhi)樂(le)(le)(le)(le)器(qi)(qi)(qi)(qi)(qi)(qi)(qi)圖像，均與今(jin)日(ri)之(zhi)(zhi)(zhi)(zhi)二(er)(er)胡(hu)維妙維肖。這(zhe)種用(yong)(yong)馬尾(wei)弓代(dai)(dai)(dai)(dai)替竹(zhu)片擦弦(xian)(xian)(xian)(xian)(xian)(xian)發(fa)音的(de)(de)(de)(de)(de)樂(le)(le)(le)(le)器(qi)(qi)(qi)(qi)(qi)(qi)(qi)，是(shi)(shi)中(zhong)(zhong)國(guo)(guo)北(bei)(bei)方(fang)(fang)長(chang)期(qi)過(guo)著(zhu)游牧生(sheng)活的(de)(de)(de)(de)(de)少數民(min)族的(de)(de)(de)(de)(de)創造(zao)(zao)，它(ta)是(shi)(shi)拉(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)器(qi)(qi)(qi)(qi)(qi)(qi)(qi)向前(qian)發(fa)展(zhan)的(de)(de)(de)(de)(de)一(yi)個里程碑。 南宋之(zhi)(zhi)(zhi)(zhi)時(shi)(shi)，胡(hu)琴(qin)(qin)(qin)類拉(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)器(qi)(qi)(qi)(qi)(qi)(qi)(qi)開始(shi)(shi)走上發(fa)展(zhan)時(shi)(shi)期(qi)。中(zhong)(zhong)國(guo)(guo)大(da)批(pi)制造(zao)(zao)樂(le)(le)(le)(le)器(qi)(qi)(qi)(qi)(qi)(qi)(qi)用(yong)(yong)的(de)(de)(de)(de)(de)絲弦(xian)(xian)(xian)(xian)(xian)(xian)，也(ye)始(shi)(shi)于南宋遷(qian)都臨安(今(jin)杭(hang)州)之(zhi)(zhi)(zhi)(zhi)際，故絲弦(xian)(xian)(xian)(xian)(xian)(xian)有(you)(you)“杭(hang)弦(xian)(xian)(xian)(xian)(xian)(xian)”之(zhi)(zhi)(zhi)(zhi)稱。在(zai)當(dang)(dang)時(shi)(shi)文人(ren)的(de)(de)(de)(de)(de)筆(bi)記、小說(shuo)(shuo)里也(ye)不時(shi)(shi)提及(ji)(ji)，在(zai)《綠窗新語》中(zhong)(zhong)的(de)(de)(de)(de)(de)“金(jin)(jin)彥(yan)游春(chun)遇春(chun)娘(niang)”故事(shi)里，就(jiu)寫有(you)(you)：“金(jin)(jin)彥(yan)與何俞出城(cheng)(cheng)(cheng)西游春(chun)，見一(yi)庭院(yuan)華麗(li)，乃王太(tai)尉莊(zhuang)。貫酒坐(zuo)閣子(zi)上，彥(yan)取二(er)(er)弦(xian)(xian)(xian)(xian)(xian)(xian)軋(ya)(ya)之(zhi)(zhi)(zhi)(zhi)，俞取簫(xiao)管(guan)合奏(zou)(zou)(zou)。”這(zhe)“二(er)(er)弦(xian)(xian)(xian)(xian)(xian)(xian)”即(ji)是(shi)(shi)與胡(hu)琴(qin)(qin)(qin)形制十(shi)分相(xiang)似的(de)(de)(de)(de)(de)拉(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)器(qi)(qi)(qi)(qi)(qi)(qi)(qi)。 　 明(ming)(ming)代(dai)(dai)(dai)(dai)，胡(hu)琴(qin)(qin)(qin)類拉(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)器(qi)(qi)(qi)(qi)(qi)(qi)(qi)隨著(zhu)戲劇和曲藝的(de)(de)(de)(de)(de)興起而(er)(er)(er)(er)有(you)(you)所改(gai)進和發(fa)展(zhan)，演(yan)(yan)(yan)奏(zou)(zou)(zou)形式(shi)也(ye)多(duo)種多(duo)樣。從明(ming)(ming)嘉靖(jing)元(yuan)年(nian)(nian)(公(gong)元(yuan)1522年(nian)(nian))尤子(zi)求的(de)(de)(de)(de)(de)《麟堂秋宴圖》畫卷中(zhong)(zhong)，就(jiu)可(ke)以(yi)(yi)(yi)(yi)看到一(yi)種由胡(hu)琴(qin)(qin)(qin)、簫(xiao)管(guan)和拍板三種樂(le)(le)(le)(le)器(qi)(qi)(qi)(qi)(qi)(qi)(qi)組(zu)成(cheng)的(de)(de)(de)(de)(de)合奏(zou)(zou)(zou)形式(shi)，圖中(zhong)(zhong)所繪(hui)的(de)(de)(de)(de)(de)胡(hu)琴(qin)(qin)(qin)，是(shi)(shi)龍(long)首、卷頸、二(er)(er)弦(xian)(xian)(xian)(xian)(xian)(xian)、馬尾(wei)弓，而(er)(er)(er)(er)且(qie)有(you)(you)了(le)(le)用(yong)(yong)以(yi)(yi)(yi)(yi)固定弦(xian)(xian)(xian)(xian)(xian)(xian)長(chang)的(de)(de)(de)(de)(de)千斤。這(zhe)在(zai)陳旸(yang)《樂(le)(le)(le)(le)書》中(zhong)(zhong)的(de)(de)(de)(de)(de)胡(hu)琴(qin)(qin)(qin)圖上是(shi)(shi)沒(mei)有(you)(you)的(de)(de)(de)(de)(de)，但也(ye)保留(liu)著(zhu)胡(hu)琴(qin)(qin)(qin)的(de)(de)(de)(de)(de)較(jiao)短琴(qin)(qin)(qin)筒、置(zhi)軸(zhou)方(fang)(fang)向和拴弦(xian)(xian)(xian)(xian)(xian)(xian)方(fang)(fang)法。它(ta)較(jiao)南宋《綠窗新語》中(zhong)(zhong)的(de)(de)(de)(de)(de)二(er)(er)弦(xian)(xian)(xian)(xian)(xian)(xian)有(you)(you)了(le)(le)較(jiao)大(da)進步，與今(jin)日(ri)的(de)(de)(de)(de)(de)朝鮮(xian)(xian)(xian)族胡(hu)琴(qin)(qin)(qin)和我(wo)國(guo)(guo)福建地區流行的(de)(de)(de)(de)(de)南音二(er)(er)弦(xian)(xian)(xian)(xian)(xian)(xian)已較(jiao)為(wei)接近。朝鮮(xian)(xian)(xian)音樂(le)(le)(le)(le)家成(cheng)伣編朝鮮(xian)(xian)(xian)古(gu)(gu)籍《樂(le)(le)(le)(le)學(xue)軌范(fan)》(1494年(nian)(nian)序(xu))中(zhong)(zhong)載(zai)有(you)(you)：“胡(hu)琴(qin)(qin)(qin)，以(yi)(yi)(yi)(yi)黜檀花木(刮青皮(pi))，或烏竹(zhu)、海竹(zhu)弓馬尾(wei)弦(xian)(xian)(xian)(xian)(xian)(xian)，用(yong)(yong)松脂(zhi)軋(ya)(ya)之(zhi)(zhi)(zhi)(zhi)。按用(yong)(yong)左手(shou)(shou)(shou)，軋(ya)(ya)用(yong)(yong)右手(shou)(shou)(shou)，只奏(zou)(zou)(zou)鄉(xiang)樂(le)(le)(le)(le)。”可(ke)見，胡(hu)琴(qin)(qin)(qin)在(zai)明(ming)(ming)代(dai)(dai)(dai)(dai)已傳入(ru)朝鮮(xian)(xian)(xian)。清代(dai)(dai)(dai)(dai)，胡(hu)琴(qin)(qin)(qin)用(yong)(yong)于宮廷的(de)(de)(de)(de)(de)瓦爾喀部(bu)樂(le)(le)(le)(le)和慶隆樂(le)(le)(le)(le)中(zhong)(zhong)，而(er)(er)(er)(er)前(qian)者還(huan)要使用(yong)(yong)四件(jian)胡(hu)琴(qin)(qin)(qin)演(yan)(yan)(yan)奏(zou)(zou)(zou)。據(ju)民(min)間傳說(shuo)(shuo)，胡(hu)琴(qin)(qin)(qin)是(shi)(shi)經(jing)東胡(hu)人(ren)之(zhi)(zhi)(zhi)(zhi)手(shou)(shou)(shou)傳入(ru)牡丹(dan)江(jiang)鏡(jing)泊(bo)湖一(yi)帶及(ji)(ji)東鏡(jing)城(cheng)(cheng)(cheng)等地的(de)(de)(de)(de)(de)。后來成(cheng)為(wei)朝鮮(xian)(xian)(xian)族人(ren)民(min)所喜愛的(de)(de)(de)(de)(de)拉(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)器(qi)(qi)(qi)(qi)(qi)(qi)(qi)。

演奏

演(yan)奏(zou)(zou)(zou)(zou)時采(cai)用坐(zuo)姿，將琴(qin)筒置于左腿上，左手持琴(qin)，常用食(shi)指(zhi)(zhi)、中指(zhi)(zhi)、無名指(zhi)(zhi)和小(xiao)指(zhi)(zhi)的第一關節彎(wan)曲(qu)處(chu)按弦(xian)(xian)，右手用五(wu)指(zhi)(zhi)握弓或拇(mu)指(zhi)(zhi)、食(shi)指(zhi)(zhi)、中指(zhi)(zhi)握弓、在兩弦(xian)(xian)間拉奏(zou)(zou)(zou)(zou)。胡(hu)(hu)琴(qin)一般采(cai)用五(wu)度音(yin)(yin)程關系定弦(xian)(xian)，常定弦(xian)(xian)為(wei)(wei)A、e或c、g，音(yin)(yin)域A—a1或c—c2，有(you)兩個八度。發(fa)音(yin)(yin)柔(rou)和、優美(mei)，音(yin)(yin)色明(ming)亮、動聽，接近漢族的中音(yin)(yin)板胡(hu)(hu)。左手按弦(xian)(xian)為(wei)(wei)滿手握弦(xian)(xian)，俗稱勾弦(xian)(xian)或抓弦(xian)(xian)，少(shao)換把(ba)位，有(you)顫音(yin)(yin)、打(da)音(yin)(yin)、滑音(yin)(yin)等(deng)演(yan)奏(zou)(zou)(zou)(zou)技巧。民(min)間樂(le)(le)手演(yan)奏(zou)(zou)(zou)(zou)時，習慣不用千斤，用勾、抓弦(xian)(xian)轉調。可用于獨奏(zou)(zou)(zou)(zou)、合奏(zou)(zou)(zou)(zou)或伴奏(zou)(zou)(zou)(zou)，是朝鮮族民(min)族樂(le)(le)隊(dui)中的主要拉弦(xian)(xian)樂(le)(le)器(qi)。擅長演(yan)奏(zou)(zou)(zou)(zou)曲(qu)調悠緩(huan)的古典樂(le)(le)曲(qu)或旋律歡快的民(min)間樂(le)(le)曲(qu)。較著(zhu)名的獨奏(zou)(zou)(zou)(zou)曲(qu)有(you)：《紡織謠》、《胡(hu)(hu)琴(qin)·散(san)曲(qu)》、《漁夫曲(qu)》和《農夫樂(le)(le)》等(deng)。

改革胡琴(qin)·四弦胡琴(qin)：朝(chao)鮮族(zu)(zu)弓(gong)拉(la)(la)弦鳴(ming)樂(le)器。20世紀(ji)60年代(dai)，朝(chao)鮮族(zu)(zu)胡琴(qin)演奏家李一男(nan)等制(zhi)作(zuo)成功改革胡琴(qin)和四弦胡琴(qin)，四弦胡琴(qin)有(you)高音、中音和低(di)音三種(zhong)，已用(yong)于(yu)吉(ji)林省延邊朝(chao)鮮族(zu)(zu)自治州專(zhuan)業音樂(le)藝(yi)術團體中，是朝(chao)鮮族(zu)(zu)民族(zu)(zu)樂(le)隊(dui)的(de)主要拉(la)(la)弦樂(le)器。

改(gai)革胡(hu)琴(qin)(qin)：全長(chang)(chang)65厘(li)米。琴(qin)(qin)筒(tong)(tong)竹制，筒(tong)(tong)長(chang)(chang)13厘(li)米，筒(tong)(tong)前口蒙以桐(tong)木(mu)(mu)面(mian)板，面(mian)徑9.5厘(li)米。琴(qin)(qin)桿(gan)用烏木(mu)(mu)、紫檀或紅木(mu)(mu)制作，為圓(yuan)形(xing)柱(zhu)狀體、琴(qin)(qin)頭呈彎(wan)月形(xing)朝前彎(wan)曲，桿(gan)的上部橫置兩個硬(ying)木(mu)(mu)制弦軸，軸頂(ding)呈葫蘆形(xing)或圓(yuan)錐形(xing)，軸長(chang)(chang)11厘(li)米，軸頭裝有金屬螺旋(又稱直行(xing)銅軸)可微(wei)調音高。弦軸下方設有腰馬支弦，琴(qin)(qin)筒(tong)(tong)下方增置木(mu)(mu)制底托，使演奏中琴(qin)(qin)身平穩。張兩條鋼(gang)絲(si)弦。琴(qin)(qin)弓(gong)用直桿(gan)細竹系以馬尾而成，弓(gong)長(chang)(chang)80厘(li)。這種改(gai)革胡(hu)琴(qin)(qin)，發音明亮(liang)、圓(yuan)潤，音色悠揚(yang)、悅耳，音量也(ye)較傳統胡(hu)琴(qin)(qin)增大，音域增至三個八(ba)度(du)。可用于獨(du)(du)奏、合奏或伴奏，尤以獨(du)(du)奏效果(guo)最佳。

四弦胡(hu)琴(qin)(qin)：是胡(hu)琴(qin)(qin)的系列(lie)樂器新品種，它包括高音(yin)(yin)、中音(yin)(yin)和低音(yin)(yin)胡(hu)琴(qin)(qin)三種。琴(qin)(qin)筒(tong)、琴(qin)(qin)桿(gan)均用色木(mu)制作，增設(she)了烏(wu)木(mu)指板。高音(yin)(yin)四弦胡(hu)琴(qin)(qin)按五(wu)度關系定弦為：g、d1、a1、e2， 音(yin)(yin)域(yu)g—c4；中音(yin)(yin)四弦胡(hu)琴(qin)(qin)的定弦比高音(yin)(yin)胡(hu)琴(qin)(qin)低五(wu)度，定弦為：c、g、d1、a1，音(yin)(yin)域(yu)c—a3；低音(yin)(yin)四弦胡(hu)琴(qin)(qin)的定弦比中音(yin)(yin)胡(hu)琴(qin)(qin)低八(ba)度，定弦為：C、G、d、a，音(yin)(yin)域(yu)C—c2。這套 四弦胡(hu)琴(qin)(qin)的總音(yin)(yin)域(yu)C—c4，達五(wu)個八(ba)度。適于合奏(zou)或伴奏(zou)使用，已用于朝鮮族(zu)(zu)民族(zu)(zu)樂隊(dui)中。

奚(xi)胡(hu)除在朝鮮族民(min)間流傳(chuan)外(wai)，在內(nei)蒙(meng)古自治區(qu)東部和遼寧、黑龍(long)江等省的蒙(meng)古族民(min)間也有(you)流傳(chuan)。其結(jie)構和奏法均與(yu)朝鮮族胡(hu)琴(qin)近似，但(dan)形(xing)制較小。琴(qin)桿用(yong)色(se)木(mu)或(huo)硬雜木(mu)制成，長(chang)50厘(li)米。琴(qin)筒用(yong)木(mu)或(huo)金(jin)屬制成，筒長(chang)10厘(li)米，前(qian)口蒙(meng)以(yi)桐(tong)木(mu)薄板為(wei)面，面徑(jing)7厘(li)米。弦(xian)(xian)(xian)軸木(mu)制，圓錐(zhui)形(xing)。張兩條(tiao)絲弦(xian)(xian)(xian)或(huo)腸衣(yi)弦(xian)(xian)(xian)。琴(qin)弓用(yong)竹片彎(wan)成弧形(xing)，兩端系以(yi)馬尾(wei)，弓長(chang)40厘(li)米。五度(du)定(ding)弦(xian)(xian)(xian)為(wei)g、d1，音(yin)域(yu)g—g1，只有(you)一個八度(du)。發(fa)音(yin)柔弱(ruo)，音(yin)色(se)渾厚。但(dan)流傳(chuan)不(bu)夠廣泛，現僅個別民(min)間老藝(yi)人還有(you)使用(yong)。