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胡(hu)(hu)琴，又稱鄉(xiang)胡(hu)(hu)、稽(同奚)琴。歷史悠久(jiu)、形(xing)制古(gu)樸。發音(yin)柔美，音(yin)色(se)動聽。可用(yong)(yong)于獨奏(zou)、合奏(zou)或(huo)為歌舞伴(ban)奏(zou)。流行(xing)于遼寧(ning)、吉(ji)林(lin)、黑(hei)龍江等省(sheng)(sheng)，尤(you)以(yi)(yi)吉(ji)林(lin)省(sheng)(sheng)延邊朝(chao)鮮(xian)族(zu)自治州(zhou)盛(sheng)行(xing)。流行(xing)于吉(ji)林(lin)省(sheng)(sheng)延邊朝(chao)鮮(xian)族(zu)自治州(zhou)。 唐宋時(shi)期(qi)的胡(hu)(hu)琴曾(ceng)傳入朝(chao)鮮(xian)。朝(chao)鮮(xian)成伣編(bian)《樂學(xue)軌范(fan)》（有1494年(nian)序(xu)）載：“……以(yi)(yi)黜檀花木(mu)（刮青皮）或(huo)烏竹海(hai)竹弓(gong)馬尾弦，用(yong)(yong)松(song)脂軋(ya)(ya)之。按(an)用(yong)(yong)左(zuo)手，軋(ya)(ya)用(yong)(yong)右手，只奏(zou)鄉(xiang)樂”。

現代(dai)(dai)胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)，全長60厘米。琴(qin)(qin)(qin)(qin)(qin)筒木或竹(zhu)制(zhi)，有(you)半圓球形(xing)和長筒形(xing)兩(liang)種(zhong)。前口蒙桐木薄(bo)板。琴(qin)(qin)(qin)(qin)(qin)桿(gan)木制(zhi)，琴(qin)(qin)(qin)(qin)(qin)頭(tou)呈彎月(yue)狀、無飾，兩(liang)軸置(zhi)于(yu)琴(qin)(qin)(qin)(qin)(qin)桿(gan)上部右側、與(yu)琴(qin)(qin)(qin)(qin)(qin)筒呈平行(xing)，軸頂旋成葫蘆形(xing)。張兩(liang)條絲弦(xian)或鋼絲弦(xian)。五(wu)度定弦(xian)A、e，音域(yu)(yu) A—a1。 遠在(zai)古代(dai)(dai)，中原的(de)(de)漢(han)族(zu)人(ren)民(min)(min)，把居住在(zai)北(bei)(bei)方(fang)和西(xi)北(bei)(bei)方(fang)的(de)(de)少數民(min)(min)族(zu)統(tong)稱(cheng)為(wei)胡(hu)(hu)(hu)(hu)(hu)(hu)，對(dui)他們所(suo)(suo)用(yong)的(de)(de)樂(le)(le)(le)器(qi)(qi)、音樂(le)(le)(le)以(yi)(yi)及服飾等(deng)，也(ye)都冠(guan)以(yi)(yi)胡(hu)(hu)(hu)(hu)(hu)(hu)字。《后漢(han)書·五(wu)行(xing)志》中有(you)：“靈帝好胡(hu)(hu)(hu)(hu)(hu)(hu)服、……胡(hu)(hu)(hu)(hu)(hu)(hu)箜篌(hou)、胡(hu)(hu)(hu)(hu)(hu)(hu)笛、胡(hu)(hu)(hu)(hu)(hu)(hu)舞，……”。漢(han)劉(liu)熙《釋名》載(zai)：“批把本出(chu)于(yu)胡(hu)(hu)(hu)(hu)(hu)(hu)中”之(zhi)句，琵琶以(yi)(yi)出(chu)胡(hu)(hu)(hu)(hu)(hu)(hu)中，而(er)(er)名胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)。唐(tang)(tang)初四川射洪(hong)大詩人(ren)陳子昂(ang)，曾以(yi)(yi)千金買一(yi)胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)，即是(shi)(shi)琵琶，直至(zhi)唐(tang)(tang)宋之(zhi)時(shi)(shi)，對(dui)琵琶、忽(hu)雷等(deng)彈(dan)弦(xian)樂(le)(le)(le)器(qi)(qi)，還稱(cheng)之(zhi)為(wei)胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)。 胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)是(shi)(shi)中國古代(dai)(dai)北(bei)(bei)方(fang)、西(xi)北(bei)(bei)方(fang)少數民(min)(min)族(zu)所(suo)(suo)用(yong)樂(le)(le)(le)器(qi)(qi)的(de)(de)統(tong)稱(cheng)，近代(dai)(dai)才作為(wei)胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)類拉弦(xian)樂(le)(le)(le)器(qi)(qi)的(de)(de)專稱(cheng)。胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)始于(yu)唐(tang)(tang)代(dai)(dai)。在(zai)宋代(dai)(dai)音樂(le)(le)(le)理論家(jia)陳旸于(yu)公元1099年所(suo)(suo)著的(de)(de)《樂(le)(le)(le)書》(卷(juan)一(yi)二(er)八)中載(zai)有(you)：“胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)本胡(hu)(hu)(hu)(hu)(hu)(hu)樂(le)(le)(le)也(ye)，出(chu)于(yu)弦(xian)鼗而(er)(er)形(xing)亦類焉(yan)，奚部所(suo)(suo)好之(zhi)樂(le)(le)(le)也(ye)。蓋其(qi)制(zhi)，兩(liang)弦(xian)間以(yi)(yi)竹(zhu)片(pian)軋(ya)之(zhi)，至(zhi)今(jin)民(min)(min)間用(yong)焉(yan)。”據書中所(suo)(suo)示，兩(liang)弦(xian)軸的(de)(de)裝置(zhi)方(fang)向與(yu)今(jin)日二(er)胡(hu)(hu)(hu)(hu)(hu)(hu)相反，不用(yong)千斤(jin)。奚族(zu)在(zai)南北(bei)(bei)朝時(shi)(shi)稱(cheng)庫莫(mo)奚，居住在(zai)我國東北(bei)(bei)地區的(de)(de)西(xi)拉木倫河流域(yu)(yu)，唐(tang)(tang)末之(zhi)時(shi)(shi)，一(yi)部分奚人(ren)西(xi)徙媯州(今(jin)河北(bei)(bei)省懷(huai)來縣)，別稱(cheng)西(xi)奚，五(wu)代(dai)(dai)十國時(shi)(shi)，東、西(xi)奚漸與(yu)契(qi)丹人(ren)相融(rong)合(he)。據陳旸所(suo)(suo)考(kao)，胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)當為(wei)唐(tang)(tang)代(dai)(dai)末年我國北(bei)(bei)方(fang)西(xi)奚所(suo)(suo)用(yong)的(de)(de)一(yi)種(zhong)樂(le)(le)(le)器(qi)(qi)。它(ta)是(shi)(shi)在(zai)古代(dai)(dai)彈(dan)弦(xian)樂(le)(le)(le)器(qi)(qi)弦(xian)鼗的(de)(de)基(ji)礎上衍變(bian)發展(zhan)而(er)(er)成的(de)(de)，其(qi)演奏方(fang)法與(yu)軋(ya)箏相似，完全是(shi)(shi)受(shou)到唐(tang)(tang)初漢(han)族(zu)軋(ya)箏的(de)(de)影響所(suo)(suo)致，不同(tong)之(zhi)處(chu)是(shi)(shi)胡(hu)(hu)(hu)(hu)(hu)(hu)琴(qin)(qin)(qin)(qin)(qin)只有(you)兩(liang)條琴(qin)(qin)(qin)(qin)(qin)弦(xian)，軋(ya)時(shi)(shi)竹(zhu)片(pian)不在(zai)弦(xian)的(de)(de)上(外)面而(er)(er)處(chu)于(yu)兩(liang)弦(xian)之(zhi)間。

歷史

胡(hu)琴(qin)在(zai)(zai)唐(tang)宋時(shi)(shi)期，既是(shi)(shi)拉弦(xian)(xian)、又是(shi)(shi)彈弦(xian)(xian)樂(le)器，兩(liang)種(zhong)演(yan)奏方法(fa)兼而有(you)之(zhi)。與陳旸(yang)同一時(shi)(shi)代的(de)北(bei)宋文人歐(ou)陽修，在(zai)(zai)他的(de)《試院聞胡(hu)琴(qin)作(zuo)》一詩(shi)中(zhong)寫道(dao)：“胡(hu)琴(qin)本出胡(hu)人樂(le)，奚(xi)奴彈之(zhi)雙淚落”。演(yan)奏方法(fa)則是(shi)(shi)彈撥，沒有(you)“用竹(zhu)片軋之(zhi)”的(de)含意。在(zai)(zai)另一首詩(shi)中(zhong)有(you)著頗為詳盡的(de)記載：“奚(xi)人作(zuo)琴(qin)便(bian)馬上(shang)，弦(xian)(xian)以(yi)雙繭絕清壯。高堂一聽(ting)風雪寒，坐(zuo)客低(di)回為凄(qi)愴。深入洞簫抗如歌(ge)，眾音疑是(shi)(shi)此多，可憐繁手無(wu)斷續(xu)，誰道(dao)絲聲不如竹(zhu)。”這(zhe)里顯(xian)然描寫的(de)是(shi)(shi)兩(liang)弦(xian)(xian)彈撥樂(le)器胡(hu)琴(qin)。可見，唐(tang)宋兩(liang)代，胡(hu)琴(qin)正處于(yu)由彈弦(xian)(xian)樂(le)器向拉弦(xian)(xian)樂(le)器過渡的(de)時(shi)(shi)期。

宋(song)(song)(song)代(dai)(dai)的(de)(de)(de)(de)(de)(de)(de)胡(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)又稱稽(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)(qin)。宋(song)(song)(song)代(dai)(dai)高(gao)承(cheng)公(gong)元1080年(nian)撰輯的(de)(de)(de)(de)(de)(de)(de)《事物紀(ji)原》中(zhong)(zhong)有：“杜摯賦序(xu)曰：秦末人(ren)(ren)(ren)苦(ku)長城之(zhi)(zhi)役，弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)鼗而(er)(er)(er)(er)鼓之(zhi)(zhi)，記(ji)(ji)以(yi)為(wei)(wei)琵(pi)琶之(zhi)(zhi)始。按鼗如鼓而(er)(er)(er)(er)小，有柄，長尺余。然則(ze)(ze)擊弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)于(yu)(yu)鼓首(shou)而(er)(er)(er)(er)屬之(zhi)(zhi)于(yu)(yu)柄末，與(yu)琵(pi)琶極不(bu)(bu)仿佛，其(qi)狀今(jin)稽(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)(qin)也(ye)。是(shi)(shi)(shi)(shi)稽(ji)(ji)(ji)康琴(qin)(qin)(qin)(qin)(qin)(qin)為(wei)(wei)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)鼗遺象明矣(yi)。”照此(ci)記(ji)(ji)述，稽(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)(qin)在北宋(song)(song)(song)之(zhi)(zhi)時，仍靠彈撥琴(qin)(qin)(qin)(qin)(qin)(qin)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)來發音，而(er)(er)(er)(er)不(bu)(bu)是(shi)(shi)(shi)(shi)軋(ya)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)發音的(de)(de)(de)(de)(de)(de)(de)拉(la)(la)(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)。在宋(song)(song)(song)代(dai)(dai)陳元靚《事林(lin)(lin)廣記(ji)(ji)》(卷八(ba))中(zhong)(zhong)，則(ze)(ze)明確(que)地記(ji)(ji)載著稽(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)(qin)是(shi)(shi)(shi)(shi)拉(la)(la)(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)。文(wen)中(zhong)(zhong)說：“稽(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)(qin)本稽(ji)(ji)(ji)康所(suo)(suo)制(zhi)，故(gu)名(ming)稽(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)(qin)。二弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)，以(yi)竹(zhu)(zhu)片軋(ya)之(zhi)(zhi)，其(qi)聲清(qing)亮。”把(ba)稽(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)(qin)歸于(yu)(yu)公(gong)元3世(shi)紀(ji)的(de)(de)(de)(de)(de)(de)(de)稽(ji)(ji)(ji)康所(suo)(suo)制(zhi)，顯然是(shi)(shi)(shi)(shi)偽托古人(ren)(ren)(ren)的(de)(de)(de)(de)(de)(de)(de)一(yi)(yi)種(zhong)附會(hui)，這(zhe)(zhe)(zhe)可(ke)能是(shi)(shi)(shi)(shi)陳氏(shi)效其(qi)“阮咸造(zao)阮”之(zhi)(zhi)說吧。同(tong)是(shi)(shi)(shi)(shi)宋(song)(song)(song)人(ren)(ren)(ren)，又同(tong)是(shi)(shi)(shi)(shi)記(ji)(ji)述稽(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)(qin)，卻(que)記(ji)(ji)載著兩種(zhong)不(bu)(bu)同(tong)的(de)(de)(de)(de)(de)(de)(de)演奏方(fang)法(fa)。這(zhe)(zhe)(zhe)充分(fen)說明，宋(song)(song)(song)代(dai)(dai)稽(ji)(ji)(ji)琴(qin)(qin)(qin)(qin)(qin)(qin)仍處(chu)于(yu)(yu)由(you)彈弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)向拉(la)(la)(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)的(de)(de)(de)(de)(de)(de)(de)過(guo)渡階段。 　 宋(song)(song)(song)代(dai)(dai)晚期，中(zhong)(zhong)國(guo)北部邊疆(jiang)地區(qu)已經開(kai)始使(shi)用(yong)(yong)以(yi)馬(ma)尾(wei)作為(wei)(wei)弓毛(mao)拉(la)(la)(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)擦奏的(de)(de)(de)(de)(de)(de)(de)樂(le)(le)(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)了(le)(le)。在陜西(xi)(xi)榆林(lin)(lin)石窟第(di)十(shi)(shi)窟的(de)(de)(de)(de)(de)(de)(de)壁畫(hua)中(zhong)(zhong)，畫(hua)有一(yi)(yi)飛(fei)天用(yong)(yong)馬(ma)尾(wei)弓拉(la)(la)(la)(la)(la)奏卷首(shou)、二軫、二弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)、圓筒(tong)形(xing)琴(qin)(qin)(qin)(qin)(qin)(qin)筒(tong)的(de)(de)(de)(de)(de)(de)(de)樂(le)(le)(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)。此(ci)窟年(nian)代(dai)(dai)約當(dang)西(xi)(xi)夏(公(gong)元1038年(nian)—1227年(nian))時期，即與(yu)中(zhong)(zhong)原的(de)(de)(de)(de)(de)(de)(de)宋(song)(song)(song)代(dai)(dai)相(xiang)交錯(cuo)。在山西(xi)(xi)省繁峙(zhi)縣巖山寺的(de)(de)(de)(de)(de)(de)(de)經幢(chuang)(為(wei)(wei)“特(te)賜廣濟(ji)大師之(zhi)(zhi)塔(ta)”)上(shang)，有一(yi)(yi)線刻樂(le)(le)(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)圖(tu)(tu)形(xing)，一(yi)(yi)人(ren)(ren)(ren)正(zheng)(zheng)盤(pan)腿而(er)(er)(er)(er)坐，手(shou)持(chi)馬(ma)尾(wei)弓拉(la)(la)(la)(la)(la)奏。有關學者(zhe)認為(wei)(wei)，繁峙(zhi)在元代(dai)(dai)之(zhi)(zhi)前即為(wei)(wei)蒙古管轄，并(bing)以(yi)大元為(wei)(wei)年(nian)號，此(ci)經幢(chuang)為(wei)(wei)“大元二十(shi)(shi)三年(nian)十(shi)(shi)月十(shi)(shi)日”建成，即公(gong)元1236年(nian)，也(ye)正(zheng)(zheng)值宋(song)(song)(song)代(dai)(dai)末年(nian)。上(shang)述兩處(chu)之(zhi)(zhi)樂(le)(le)(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)圖(tu)(tu)像，均與(yu)今(jin)日之(zhi)(zhi)二胡(hu)維妙維肖。這(zhe)(zhe)(zhe)種(zhong)用(yong)(yong)馬(ma)尾(wei)弓代(dai)(dai)替竹(zhu)(zhu)片擦弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)發音的(de)(de)(de)(de)(de)(de)(de)樂(le)(le)(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)，是(shi)(shi)(shi)(shi)中(zhong)(zhong)國(guo)北方(fang)長期過(guo)著游牧生活的(de)(de)(de)(de)(de)(de)(de)少數(shu)民(min)(min)族的(de)(de)(de)(de)(de)(de)(de)創造(zao)，它是(shi)(shi)(shi)(shi)拉(la)(la)(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)向前發展的(de)(de)(de)(de)(de)(de)(de)一(yi)(yi)個(ge)里(li)程碑。 南(nan)宋(song)(song)(song)之(zhi)(zhi)時，胡(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)類(lei)拉(la)(la)(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)開(kai)始走上(shang)發展時期。中(zhong)(zhong)國(guo)大批(pi)制(zhi)造(zao)樂(le)(le)(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)用(yong)(yong)的(de)(de)(de)(de)(de)(de)(de)絲弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)，也(ye)始于(yu)(yu)南(nan)宋(song)(song)(song)遷都臨安(an)(今(jin)杭州)之(zhi)(zhi)際，故(gu)絲弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)有“杭弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)”之(zhi)(zhi)稱。在當(dang)時文(wen)人(ren)(ren)(ren)的(de)(de)(de)(de)(de)(de)(de)筆記(ji)(ji)、小說里(li)也(ye)不(bu)(bu)時提(ti)及，在《綠窗新語》中(zhong)(zhong)的(de)(de)(de)(de)(de)(de)(de)“金彥(yan)游春(chun)遇春(chun)娘”故(gu)事里(li)，就寫(xie)有：“金彥(yan)與(yu)何俞出城西(xi)(xi)游春(chun)，見(jian)一(yi)(yi)庭院華麗，乃王太尉莊。貫酒坐閣子上(shang)，彥(yan)取二弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)軋(ya)之(zhi)(zhi)，俞取簫(xiao)管合奏。”這(zhe)(zhe)(zhe)“二弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)”即是(shi)(shi)(shi)(shi)與(yu)胡(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)形(xing)制(zhi)十(shi)(shi)分(fen)相(xiang)似(si)的(de)(de)(de)(de)(de)(de)(de)拉(la)(la)(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)。 　 明代(dai)(dai)，胡(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)類(lei)拉(la)(la)(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)隨著戲(xi)劇和曲藝的(de)(de)(de)(de)(de)(de)(de)興起而(er)(er)(er)(er)有所(suo)(suo)改進和發展，演奏形(xing)式也(ye)多(duo)種(zhong)多(duo)樣。從明嘉(jia)靖元年(nian)(公(gong)元1522年(nian))尤子求(qiu)的(de)(de)(de)(de)(de)(de)(de)《麟堂秋宴圖(tu)(tu)》畫(hua)卷中(zhong)(zhong)，就可(ke)以(yi)看(kan)到一(yi)(yi)種(zhong)由(you)胡(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)、簫(xiao)管和拍板三種(zhong)樂(le)(le)(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)組(zu)成的(de)(de)(de)(de)(de)(de)(de)合奏形(xing)式，圖(tu)(tu)中(zhong)(zhong)所(suo)(suo)繪(hui)的(de)(de)(de)(de)(de)(de)(de)胡(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)，是(shi)(shi)(shi)(shi)龍首(shou)、卷頸、二弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)、馬(ma)尾(wei)弓，而(er)(er)(er)(er)且有了(le)(le)用(yong)(yong)以(yi)固定弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)長的(de)(de)(de)(de)(de)(de)(de)千斤(jin)。這(zhe)(zhe)(zhe)在陳旸《樂(le)(le)(le)(le)(le)(le)(le)(le)(le)書》中(zhong)(zhong)的(de)(de)(de)(de)(de)(de)(de)胡(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)圖(tu)(tu)上(shang)是(shi)(shi)(shi)(shi)沒(mei)有的(de)(de)(de)(de)(de)(de)(de)，但(dan)也(ye)保留(liu)著胡(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)的(de)(de)(de)(de)(de)(de)(de)較(jiao)短琴(qin)(qin)(qin)(qin)(qin)(qin)筒(tong)、置軸方(fang)向和拴弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)方(fang)法(fa)。它較(jiao)南(nan)宋(song)(song)(song)《綠窗新語》中(zhong)(zhong)的(de)(de)(de)(de)(de)(de)(de)二弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)有了(le)(le)較(jiao)大進步，與(yu)今(jin)日的(de)(de)(de)(de)(de)(de)(de)朝(chao)(chao)鮮(xian)族胡(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)和我國(guo)福建地區(qu)流行的(de)(de)(de)(de)(de)(de)(de)南(nan)音二弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)已較(jiao)為(wei)(wei)接近(jin)。朝(chao)(chao)鮮(xian)音樂(le)(le)(le)(le)(le)(le)(le)(le)(le)家成伣編朝(chao)(chao)鮮(xian)古籍《樂(le)(le)(le)(le)(le)(le)(le)(le)(le)學軌(gui)范》(1494年(nian)序(xu))中(zhong)(zhong)載有：“胡(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)，以(yi)黜檀(tan)花木(刮青皮)，或烏(wu)竹(zhu)(zhu)、海竹(zhu)(zhu)弓馬(ma)尾(wei)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)，用(yong)(yong)松脂軋(ya)之(zhi)(zhi)。按用(yong)(yong)左手(shou)，軋(ya)用(yong)(yong)右(you)手(shou)，只奏鄉樂(le)(le)(le)(le)(le)(le)(le)(le)(le)。”可(ke)見(jian)，胡(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)在明代(dai)(dai)已傳入(ru)朝(chao)(chao)鮮(xian)。清(qing)代(dai)(dai)，胡(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)用(yong)(yong)于(yu)(yu)宮廷的(de)(de)(de)(de)(de)(de)(de)瓦爾(er)喀(ka)部樂(le)(le)(le)(le)(le)(le)(le)(le)(le)和慶隆樂(le)(le)(le)(le)(le)(le)(le)(le)(le)中(zhong)(zhong)，而(er)(er)(er)(er)前者(zhe)還要(yao)使(shi)用(yong)(yong)四(si)件胡(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)演奏。據民(min)(min)間傳說，胡(hu)琴(qin)(qin)(qin)(qin)(qin)(qin)是(shi)(shi)(shi)(shi)經東(dong)胡(hu)人(ren)(ren)(ren)之(zhi)(zhi)手(shou)傳入(ru)牡丹江鏡(jing)泊湖(hu)一(yi)(yi)帶(dai)及東(dong)鏡(jing)城等(deng)地的(de)(de)(de)(de)(de)(de)(de)。后來成為(wei)(wei)朝(chao)(chao)鮮(xian)族人(ren)(ren)(ren)民(min)(min)所(suo)(suo)喜愛的(de)(de)(de)(de)(de)(de)(de)拉(la)(la)(la)(la)(la)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂(le)(le)(le)(le)(le)(le)(le)(le)(le)器(qi)(qi)(qi)(qi)。

演奏

演(yan)奏(zou)(zou)(zou)時(shi)(shi)采用(yong)坐(zuo)姿，將琴筒置于(yu)左腿上，左手持琴，常用(yong)食指(zhi)(zhi)(zhi)、中指(zhi)(zhi)(zhi)、無名(ming)指(zhi)(zhi)(zhi)和(he)小指(zhi)(zhi)(zhi)的(de)第一(yi)關(guan)節(jie)彎曲處(chu)按(an)弦(xian)(xian)，右手用(yong)五指(zhi)(zhi)(zhi)握弓或拇指(zhi)(zhi)(zhi)、食指(zhi)(zhi)(zhi)、中指(zhi)(zhi)(zhi)握弓、在兩弦(xian)(xian)間拉奏(zou)(zou)(zou)。胡(hu)琴一(yi)般采用(yong)五度(du)(du)音(yin)(yin)程關(guan)系定弦(xian)(xian)，常定弦(xian)(xian)為A、e或c、g，音(yin)(yin)域A—a1或c—c2，有兩個八(ba)度(du)(du)。發(fa)音(yin)(yin)柔和(he)、優美，音(yin)(yin)色(se)明亮、動(dong)聽(ting)，接近漢族(zu)的(de)中音(yin)(yin)板胡(hu)。左手按(an)弦(xian)(xian)為滿(man)手握弦(xian)(xian)，俗稱(cheng)勾(gou)弦(xian)(xian)或抓弦(xian)(xian)，少換把(ba)位，有顫音(yin)(yin)、打音(yin)(yin)、滑音(yin)(yin)等(deng)演(yan)奏(zou)(zou)(zou)技巧。民(min)間樂手演(yan)奏(zou)(zou)(zou)時(shi)(shi)，習慣不用(yong)千斤(jin)，用(yong)勾(gou)、抓弦(xian)(xian)轉調。可用(yong)于(yu)獨奏(zou)(zou)(zou)、合奏(zou)(zou)(zou)或伴奏(zou)(zou)(zou)，是朝鮮(xian)族(zu)民(min)族(zu)樂隊中的(de)主要拉弦(xian)(xian)樂器(qi)。擅長演(yan)奏(zou)(zou)(zou)曲調悠緩的(de)古典樂曲或旋律歡快的(de)民(min)間樂曲。較著(zhu)名(ming)的(de)獨奏(zou)(zou)(zou)曲有：《紡(fang)織謠》、《胡(hu)琴·散曲》、《漁夫曲》和(he)《農夫樂》等(deng)。

改革(ge)胡琴·四(si)弦胡琴：朝(chao)鮮(xian)族(zu)弓拉弦鳴樂(le)器。20世紀(ji)60年代，朝(chao)鮮(xian)族(zu)胡琴演奏(zou)家李(li)一男等制作(zuo)成功(gong)改革(ge)胡琴和四(si)弦胡琴，四(si)弦胡琴有(you)高音(yin)、中音(yin)和低音(yin)三種，已用于吉林省延邊朝(chao)鮮(xian)族(zu)自(zi)治州專業音(yin)樂(le)藝(yi)術團體中，是(shi)朝(chao)鮮(xian)族(zu)民族(zu)樂(le)隊的(de)主要拉弦樂(le)器。

改(gai)革胡(hu)(hu)琴(qin)(qin)：全長(chang)(chang)65厘(li)(li)米(mi)。琴(qin)(qin)筒竹制(zhi)(zhi)，筒長(chang)(chang)13厘(li)(li)米(mi)，筒前口(kou)蒙以桐木面板，面徑9.5厘(li)(li)米(mi)。琴(qin)(qin)桿用(yong)(yong)烏木、紫檀或(huo)紅木制(zhi)(zhi)作，為(wei)圓(yuan)(yuan)形(xing)柱(zhu)狀體(ti)、琴(qin)(qin)頭呈彎月形(xing)朝前彎曲(qu)，桿的上(shang)部橫(heng)置兩個硬木制(zhi)(zhi)弦(xian)軸，軸頂呈葫蘆形(xing)或(huo)圓(yuan)(yuan)錐形(xing)，軸長(chang)(chang)11厘(li)(li)米(mi)，軸頭裝有金(jin)屬(shu)螺(luo)旋(又(you)稱(cheng)直行銅軸)可(ke)微調音(yin)(yin)高。弦(xian)軸下方(fang)設有腰馬支(zhi)弦(xian)，琴(qin)(qin)筒下方(fang)增置木制(zhi)(zhi)底托，使演奏(zou)中琴(qin)(qin)身平穩。張兩條鋼絲弦(xian)。琴(qin)(qin)弓(gong)用(yong)(yong)直桿細竹系以馬尾而成，弓(gong)長(chang)(chang)80厘(li)(li)。這種改(gai)革胡(hu)(hu)琴(qin)(qin)，發音(yin)(yin)明亮、圓(yuan)(yuan)潤，音(yin)(yin)色悠揚(yang)、悅(yue)耳，音(yin)(yin)量也較傳統胡(hu)(hu)琴(qin)(qin)增大，音(yin)(yin)域增至三個八度。可(ke)用(yong)(yong)于獨(du)奏(zou)、合奏(zou)或(huo)伴(ban)奏(zou)，尤以獨(du)奏(zou)效果(guo)最佳。

四弦(xian)(xian)(xian)胡(hu)琴(qin)(qin)：是胡(hu)琴(qin)(qin)的(de)系列樂器(qi)新品種(zhong)，它包括高(gao)音(yin)(yin)(yin)、中(zhong)音(yin)(yin)(yin)和低音(yin)(yin)(yin)胡(hu)琴(qin)(qin)三種(zhong)。琴(qin)(qin)筒、琴(qin)(qin)桿均用(yong)色木(mu)制作，增(zeng)設(she)了烏木(mu)指板(ban)。高(gao)音(yin)(yin)(yin)四弦(xian)(xian)(xian)胡(hu)琴(qin)(qin)按五(wu)度關系定(ding)(ding)弦(xian)(xian)(xian)為：g、d1、a1、e2， 音(yin)(yin)(yin)域(yu)g—c4；中(zhong)音(yin)(yin)(yin)四弦(xian)(xian)(xian)胡(hu)琴(qin)(qin)的(de)定(ding)(ding)弦(xian)(xian)(xian)比高(gao)音(yin)(yin)(yin)胡(hu)琴(qin)(qin)低五(wu)度，定(ding)(ding)弦(xian)(xian)(xian)為：c、g、d1、a1，音(yin)(yin)(yin)域(yu)c—a3；低音(yin)(yin)(yin)四弦(xian)(xian)(xian)胡(hu)琴(qin)(qin)的(de)定(ding)(ding)弦(xian)(xian)(xian)比中(zhong)音(yin)(yin)(yin)胡(hu)琴(qin)(qin)低八度，定(ding)(ding)弦(xian)(xian)(xian)為：C、G、d、a，音(yin)(yin)(yin)域(yu)C—c2。這套(tao) 四弦(xian)(xian)(xian)胡(hu)琴(qin)(qin)的(de)總音(yin)(yin)(yin)域(yu)C—c4，達五(wu)個八度。適于合奏(zou)或伴(ban)奏(zou)使用(yong)，已用(yong)于朝鮮(xian)族(zu)民族(zu)樂隊(dui)中(zhong)。

奚胡除在(zai)(zai)朝(chao)鮮族民間(jian)流傳(chuan)外(wai)，在(zai)(zai)內(nei)蒙(meng)(meng)古自治區(qu)東(dong)部和(he)(he)遼寧、黑龍江等省(sheng)的蒙(meng)(meng)古族民間(jian)也有流傳(chuan)。其結構和(he)(he)奏(zou)法均與(yu)朝(chao)鮮族胡琴近似，但形制(zhi)較小(xiao)。琴桿(gan)用色(se)木(mu)(mu)(mu)或硬雜木(mu)(mu)(mu)制(zhi)成(cheng)，長(chang)50厘(li)(li)米(mi)。琴筒用木(mu)(mu)(mu)或金屬制(zhi)成(cheng)，筒長(chang)10厘(li)(li)米(mi)，前口蒙(meng)(meng)以桐(tong)木(mu)(mu)(mu)薄板為面(mian)，面(mian)徑7厘(li)(li)米(mi)。弦軸木(mu)(mu)(mu)制(zhi)，圓(yuan)錐形。張(zhang)兩(liang)條絲弦或腸衣弦。琴弓用竹片(pian)彎成(cheng)弧(hu)形，兩(liang)端系以馬尾，弓長(chang)40厘(li)(li)米(mi)。五度定(ding)弦為g、d1，音域g—g1，只有一個八度。發音柔弱(ruo)，音色(se)渾厚(hou)。但流傳(chuan)不夠(gou)廣(guang)泛，現僅個別民間(jian)老藝人還有使用。