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傳播發展

揚(yang)琴于(yu)明代末(mo)(mo)年自(zi)波(bo)斯(今(jin)伊(yi)朗)經(jing)海路傳入(ru)我(wo)國，只(zhi)在廣東(dong)沿海一帶流傳，后逐漸遍及閩浙(zhe)、江淮和(he)(he)中原。而新疆的鏘，則是由西亞——中亞一帶經(jing)“絲綢(chou)之路”直接傳入(ru)新疆喀什的，其(qi)時應早(zao)于(yu)明末(mo)(mo)，18世(shi)紀(ji)末(mo)(mo)又傳到東(dong)疆哈密。由于(yu)鏘適于(yu)演奏(zou)維吾(wu)爾古典音(yin)樂“十二木(mu)卡(ka)姆”和(he)(he)為民間歌舞伴奏(zou)，很快便傳遍天山南(nan)北和(he)(he)新疆的主要城(cheng)鎮。

形制結構

形制與漢族的(de)(de)揚琴(qin)(qin)(qin)(qin)(qin)(qin)相同，由(you)共鳴箱、山(shan)口、弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)軸(zhou)、弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)釘(ding)、琴(qin)(qin)(qin)(qin)(qin)(qin)馬(ma)(ma)、琴(qin)(qin)(qin)(qin)(qin)(qin)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)和琴(qin)(qin)(qin)(qin)(qin)(qin)竹(zhu)等部分構成(cheng)(cheng)(圖(tu))。共鳴箱呈扁梯形，它由(you)琴(qin)(qin)(qin)(qin)(qin)(qin)框和面(mian)、底(di)(di)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)膠(jiao)合而成(cheng)(cheng)，琴(qin)(qin)(qin)(qin)(qin)(qin)框為(wei)(wei)前后側板(ban)(ban)(ban)(ban)(ban)(ban)(ban)和左(zuo)右(you)兩(liang)(liang)端(duan)琴(qin)(qin)(qin)(qin)(qin)(qin)頭組成(cheng)(cheng)，框板(ban)(ban)(ban)(ban)(ban)(ban)(ban)多(duo)使用(yong)(yong)(yong)(yong)(yong)色木(mu)、樺木(mu)、榆木(mu)或(huo)其它硬雜木(mu)制作，用(yong)(yong)(yong)(yong)(yong)于(yu)(yu)安裝(zhuang)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)軸(zhou)的(de)(de)右(you)側琴(qin)(qin)(qin)(qin)(qin)(qin)頭，則(ze)多(duo)采用(yong)(yong)(yong)(yong)(yong)多(duo)層色木(mu)(紋(wen)理(li)交錯(cuo)排列)膠(jiao)合板(ban)(ban)(ban)(ban)(ban)(ban)(ban)。琴(qin)(qin)(qin)(qin)(qin)(qin)框之上蒙以(yi)魚(yu)鱗(lin)云(yun)杉、桐木(mu)或(huo)松木(mu)薄板(ban)(ban)(ban)(ban)(ban)(ban)(ban)為(wei)(wei)面(mian)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)，底(di)(di)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)多(duo)用(yong)(yong)(yong)(yong)(yong)三層膠(jiao)合板(ban)(ban)(ban)(ban)(ban)(ban)(ban)，面(mian)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)或(huo)底(di)(di)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)上開(kai)有兩(liang)(liang)個(ge)圓(yuan)形出音(yin)(yin)孔。山(shan)口是設在(zai)面(mian)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)兩(liang)(liang)側的(de)(de)長(chang)形木(mu)條，用(yong)(yong)(yong)(yong)(yong)紅(hong)木(mu)制成(cheng)(cheng)，由(you)山(shan)口至(zhi)馬(ma)(ma)峰(feng)的(de)(de)一(yi)段弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)長(chang)為(wei)(wei)琴(qin)(qin)(qin)(qin)(qin)(qin)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)振動發音(yin)(yin)的(de)(de)有效弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)長(chang)。弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)軸(zhou)為(wei)(wei)特制的(de)(de)金屬螺釘(ding)，上方(fang)下圓(yuan)，起纏(chan)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)和調(diao)音(yin)(yin)作用(yong)(yong)(yong)(yong)(yong)。弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)釘(ding)為(wei)(wei)金屬制成(cheng)(cheng)，裝(zhuang)于(yu)(yu)左(zuo)琴(qin)(qin)(qin)(qin)(qin)(qin)頭，用(yong)(yong)(yong)(yong)(yong)于(yu)(yu)系弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)。琴(qin)(qin)(qin)(qin)(qin)(qin)馬(ma)(ma)呈直條形、峰(feng)谷(gu)狀，用(yong)(yong)(yong)(yong)(yong)紅(hong)木(mu)、竹(zhu)或(huo)牛角制，有一(yi)至(zhi)五個(ge)，置于(yu)(yu)面(mian)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)上，左(zuo)側為(wei)(wei)高音(yin)(yin)和中音(yin)(yin)馬(ma)(ma)，右(you)側為(wei)(wei)低(di)音(yin)(yin)馬(ma)(ma)，馬(ma)(ma)峰(feng)用(yong)(yong)(yong)(yong)(yong)以(yi)架弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)，馬(ma)(ma)谷(gu)供另一(yi)條馬(ma)(ma)上琴(qin)(qin)(qin)(qin)(qin)(qin)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)通(tong)過。琴(qin)(qin)(qin)(qin)(qin)(qin)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)多(duo)用(yong)(yong)(yong)(yong)(yong)銅絲(si)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)，中、高音(yin)(yin)用(yong)(yong)(yong)(yong)(yong)裸(luo)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)，每音(yin)(yin)三條弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)為(wei)(wei)一(yi)組，常用(yong)(yong)(yong)(yong)(yong)27號(hao)～31號(hao)鋼絲(si)；低(di)音(yin)(yin)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)用(yong)(yong)(yong)(yong)(yong)銅絲(si)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)或(huo)鋼絲(si)纏(chan)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)(裸(luo)鋼絲(si)外纏(chan)以(yi)細銅絲(si)) ，一(yi)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)(xian)一(yi)音(yin)(yin)。琴(qin)(qin)(qin)(qin)(qin)(qin)竹(zhu)又(you)稱琴(qin)(qin)(qin)(qin)(qin)(qin)棰，用(yong)(yong)(yong)(yong)(yong)竹(zhu)制成(cheng)(cheng)，兩(liang)(liang)支一(yi)副(fu)，較內地的(de)(de)短而硬，一(yi)般(ban)長(chang)24厘(li)米，琴(qin)(qin)(qin)(qin)(qin)(qin)竹(zhu)頭部 粘貼氈條或(huo)套以(yi)一(yi)小(xiao)截醫用(yong)(yong)(yong)(yong)(yong)聽診器膠(jiao)管。

樂器改革

鏘(qiang)(qiang)隨著社會的(de)前(qian)進而不斷(duan)向(xiang)(xiang)前(qian)發(fa)展。20世紀30年代(dai)(dai)，第一(yi)代(dai)(dai)鏘(qiang)(qiang)為兩個條(tiao)馬(ma)、三排(pai)(pai)音(yin)(yin)(yin)(yin)(yin)、七聲音(yin)(yin)(yin)(yin)(yin)階排(pai)(pai)列(lie)、二(er)十(shi)一(yi)個音(yin)(yin)(yin)(yin)(yin)位(wei)(wei)(wei)，琴箱(xiang)前(qian)長81.8厘(li)(li)米(mi)(mi)、后長99厘(li)(li)米(mi)(mi)、寬(kuan)35.2厘(li)(li)米(mi)(mi)、中(zhong)高(gao)9 厘(li)(li)米(mi)(mi)。50年代(dai)(dai)末，烏魯木齊維(wei)吾爾族老人阿西木改革(ge)制(zhi)(zhi)成第二(er)代(dai)(dai)鏘(qiang)(qiang)，兩個條(tiao)馬(ma)、三排(pai)(pai)音(yin)(yin)(yin)(yin)(yin)、音(yin)(yin)(yin)(yin)(yin)位(wei)(wei)(wei)縱向(xiang)(xiang)小二(er)度(du)、橫向(xiang)(xiang)五度(du)排(pai)(pai)列(lie)，有三十(shi)四個音(yin)(yin)(yin)(yin)(yin)位(wei)(wei)(wei)，半音(yin)(yin)(yin)(yin)(yin)齊全，音(yin)(yin)(yin)(yin)(yin)域g—e3。此(ci)后，又(you)在(zai)(zai)第二(er)代(dai)(dai)鏘(qiang)(qiang)的(de)基礎上(shang)，又(you)出現(xian)了(le)(le)琴體(ti)增(zeng)大(da)、弦距加(jia)寬(kuan)、保(bao)持(chi)兩排(pai)(pai)馬(ma)的(de)改革(ge)鏘(qiang)(qiang)，發(fa)音(yin)(yin)(yin)(yin)(yin)既清(qing)脆又(you)洪亮(liang)。60年代(dai)(dai)以(yi)后，由(you)中(zhong)央廣(guang)播民族樂(le)團楊競明等和北京民族樂(le)器廠合作改革(ge)研(yan)制(zhi)(zhi)的(de)、具有四個條(tiao)馬(ma)、六(liu)排(pai)(pai)音(yin)(yin)(yin)(yin)(yin)、四組音(yin)(yin)(yin)(yin)(yin)域的(de)變(bian)(bian)(bian)(bian)音(yin)(yin)(yin)(yin)(yin)揚(yang)琴，已(yi)在(zai)(zai)新疆各藝術團體(ti)中(zhong)廣(guang)為使(shi)用，它的(de)共鳴箱(xiang)前(qian)長78厘(li)(li)米(mi)(mi)、后長118厘(li)(li)米(mi)(mi)、寬(kuan)51厘(li)(li)米(mi)(mi)、中(zhong)高(gao)8厘(li)(li)米(mi)(mi)。后來新疆制(zhi)(zhi)作的(de)鏘(qiang)(qiang)，琴體(ti)骨(gu)架采用金屬結構，內(nei)腔(qiang)裝設齒(chi)形音(yin)(yin)(yin)(yin)(yin)梁、橫襯條(tiao)，面板上(shang)增(zeng)置鋁制(zhi)(zhi)滾(gun)軸及滾(gun)軸條(tiao)等部件，克服了(le)(le)新疆氣候干燥、溫度(du)變(bian)(bian)(bian)(bian)化急劇、琴體(ti)彎曲變(bian)(bian)(bian)(bian)形、易跑弦等缺陷，又(you)使(shi)音(yin)(yin)(yin)(yin)(yin)色亮(liang)度(du)增(zeng)加(jia)、音(yin)(yin)(yin)(yin)(yin)量增(zeng)大(da)。目前(qian)常(chang)用的(de)鏘(qiang)(qiang)，其音(yin)(yin)(yin)(yin)(yin)位(wei)(wei)(wei)是在(zai)(zai)變(bian)(bian)(bian)(bian)音(yin)(yin)(yin)(yin)(yin)揚(yang)琴的(de)鏘(qiang)(qiang)音(yin)(yin)(yin)(yin)(yin)位(wei)(wei)(wei)排(pai)(pai)列(lie)圖(tu)基礎上(shang)，參考(kao)了(le)(le)70年代(dai)(dai)改革(ge)制(zhi)(zhi)成的(de)廣(guang)州十(shi)二(er)平(ping)均律揚(yang)琴的(de)音(yin)(yin)(yin)(yin)(yin)位(wei)(wei)(wei)而設制(zhi)(zhi)的(de)，半音(yin)(yin)(yin)(yin)(yin)齊全，可以(yi)轉(zhuan)調和演(yan)奏臨時(shi)變(bian)(bian)(bian)(bian)化半音(yin)(yin)(yin)(yin)(yin)。

演奏方法

演(yan)(yan)奏時，采用坐姿(zi)。將(jiang)鏘(qiang)置(zhi)于琴架(jia)或桌面上，兩(liang)手各執(zhi)一(yi)(yi)支琴竹(zhu)分(fen)別敲擊琴馬兩(liang)側的(de)(de)琴弦而(er)發音。音域G—a3，達四個八度。常用技(ji)巧(qiao)有揉(rou)弦、撥弦、琶音、襯音和八度輪音等，揉(rou)弦與(yu)漢族(zu)(zu)(zu)揚琴不同，它借鑒了卡(ka)龍奏法(fa)，一(yi)(yi)般為壓揉(rou)。可(ke)用于獨奏、合奏或伴(ban)奏，擅(shan)于演(yan)(yan)奏剛健、歡(huan)快、熱情奔(ben)放的(de)(de)旋(xuan)律，富有濃郁的(de)(de)民(min)族(zu)(zu)(zu)風格(ge)。鏘(qiang)常與(yu)彈布(bu)爾、卡(ka)龍、薩它爾和達卜(bu)等維吾(wu)爾族(zu)(zu)(zu)傳統樂(le)(le)器(qi)組合在一(yi)(yi)起，演(yan)(yan)奏“十二木卡(ka)姆”古典(dian)樂(le)(le)曲。它也是(shi)廣大城鄉“麥(mai)昔若普”中歌唱(chang)(chang)和舞蹈的(de)(de)伴(ban)奏樂(le)(le)器(qi)。在城市的(de)(de)茶館或飯館中，奏者還(huan)用它邊(bian)彈邊(bian)唱(chang)(chang)。如今，鏘(qiang)已(yi)成為深受維吾(wu)爾族(zu)(zu)(zu)人民(min)喜聞樂(le)(le)見的(de)(de)民(min)間樂(le)(le)器(qi)之一(yi)(yi)，在新疆藝(yi)術(shu)院校均設有鏘(qiang)的(de)(de)演(yan)(yan)奏專業，為藝(yi)術(shu)團體培養(yang)著演(yan)(yan)奏人才。