二十世紀的中國器樂藝術

乔建中

为“中国民族器乐典藏”而作

            在中国数千年的音乐历史上，二十世纪有十分特殊的地位和意义。

百馀年间，顺应中国社会、经济、文化全面转型的历史潮流，几代音乐家上下求索、勤于创造，审慎而又智慧地处理了一次次迎面而来的中—西、古—今、雅—俗等多重关係，目标如一地致力于从传统到现代的转接，最终为二十世纪的中国音乐文化事业做了两件彪炳史册的大事。其一，全面系统地记录、整理了存活于各民族各地区丰富多彩的传统音乐遗产，将其公开出版，使之成为中国民族文化的宝典。其二，以中国传统音乐资源为基底，广泛吸收、借鉴西方专业音乐的理念、技艺，创造出一种不同于传统音乐体裁、风格的全新的音乐，如歌曲、合唱、歌剧、舞剧、器乐独奏、交响乐、协奏曲、民族管弦乐等，从而使二十世纪中国音乐结构发生了全局性的转变。这两个业绩，前者是以音乐学家为主体做出的，后者是由作曲家和表演艺术家共同完成的。在中国音乐史上，如此功德，前无古人。

            中国的器乐艺术，源远流长，积累丰厚。上古文献中所谓“击石拊石”、“鼓琴鼓瑟”、“鼍鼓逢逢”、“金声玉振”的描述以及“伯牙摔琴”的传说可以看作是它精彩的“开篇”。而汉魏时代的的《琴赋》（嵇康）、《琴操》（蔡邕）、《长笛赋》（马融）、《琵琶赋》、《筝赋》、《笳赋》（傅玄）《笙赋》（潘安仁）、《洞箫赋》（王子渊）诸文所论，则反映了各类乐器独特的表现力和当时在演奏上所达到的艺术成就。此后，唐代羯鼓、七弦琴、琵琶、筝等演奏技艺高度成熟。宋元以降，一方面由于说唱、戏曲逐步形成而促进了乐器伴奏的专门化，另一方面，民间祭祀、节日、礼俗活动的迫切需要而使锣鼓乐、丝竹乐、鼓吹乐、弦索乐等不同乐队组合活跃于广大民间社会。在长达千年的表演实践中，无论是少数长于独奏的乐器，如琴、琵琶等，还是各类小型合奏乐队，不仅积累了大量的优秀曲目，而且，在乐器演奏技法的扩展、提高、规范方面，也都自成系统，日臻完善，使器乐艺术成为历代音乐不可或缺的组成部分。

            儘管如此，我们还是要指出，二十世纪以前的中国器乐艺术并不是一个完全独立的表演艺术门类。如历代宫廷乐队，虽然乐器齐备，规模庞大，但它们主要是为宫廷礼仪服务，任何用乐，都要受到礼仪制度的制约，而不能自由而充分地发挥乐队自身的表现性能。它们与宫廷礼仪相存相依，我们可以称之为“宫廷礼乐型”的器乐艺术。又如各类鼓吹、吹打乐队，它们又都几乎是在民间节日、庆典、婚丧嫁娶、仪式信仰活动中演奏的，具有与民俗文化共生的性质。因此，对于民俗事象有很大的依赖性。这应该是一种“民俗型”的器乐艺术。再如为说唱、戏曲、歌舞伴奏的民间乐队，它们仅仅是说唱、戏曲等这类综合性表演艺术的一个组成部分。其表现力的运用、发挥，取决于这一综合艺术本身的需要，而不可能单独自由地表演。这可以说是中国式“剧场”的器乐艺术。合奏艺术如此，独奏艺术呢？文献中记载最多的是琴、箫、琵琶、筝等。但它们的“表演”场所，大多数是官邸、青楼茶馆或文人私斋，其目的主要是为少数人观赏或“以乐会友”，民间称之为“雅集”。在这种场合，表演者与听众的关係被淡化，而更强调的是现场参与者的“自娱”、“自赏”。这是一种“雅集型”的器乐艺术。[注1]总之，数千年的演奏实践和艺术积淀，使中国器乐艺术的资源无比丰富。但它自身特殊的成长环境，即与宫廷礼仪、民俗事象、戏曲曲艺表演、文人意趣的长期“共生”及对它们的过分依赖，使这门艺术先天缺少对专门技艺、审美趋向的刻意追求，从而也就导致了它缺少作为一个专门领域的某种独立性。

            进入二十世纪之后，封建制度的彻底结束，五四新文化运动的发生和由于中西文化的广泛交流而出现的崭新的学术景象，不仅造成中国政治、经济的世纪性转折，而且，也催生了新文学、新音乐、新艺术的出世。其中就包括器乐表演艺术。

            一九一五年，刘天华先生创作并演奏了他的处女作—《病中吟》，它同时也是二十世纪音乐家在西方专业音乐创作思想的影响下、具有现代精神的第一首二胡独奏曲。一九一九年，郑觐文先生在上海创立“大同乐会”，随后又于一九二四年组建了包括吹打拉弹诸类传统乐器、多达四十位演奏者的大型乐队。该乐会的宗旨是：“对于西乐主专习，对于中乐主稽古与改造，务使中西方得相济互助之益，然后挚其精华，提其纲领，为世界音乐开一新纪元，以完本会大同二字之目的。”[注2]刘天华的二胡创作和大同乐会组建新型乐队的尝试，正式拉开了二十世纪中国乐器独奏艺术和合奏艺术的序幕，不仅意义重大，而且产生了极为深远的影响。自此以后的八十馀年间，中国器乐艺术在作曲家和民族乐器演奏家同心协力之下，改革创新，反复试验，一路前行，逐步将这门艺术推向了前所未有的一个巅峰。

            二十世纪的中国器乐艺术，所以能成为一门相对独立又颇有成就的现代表演艺术类别，获益于以下诸因素。

            一、音乐院校将民族乐器纳入专业行列，是二十世纪中国器乐成为独立的艺术表演门类的第一个标志。众所周知，自一九二七年上海“国立音乐院”成立之际，琵琶、二胡、古琴就成为该校的一个专业。虽然仅有两三件乐器享此殊荣，但它为后来的音乐院校确立了一种原则。因此，一九五○年代各地音乐学院成立时，不但增加了很多乐器，而且设置了“民族器乐系”，这就为更多乐器成为一门专业，并为培养大批专门的器乐演奏人才提供了最有力的保障。近几十年来绝大多数优秀的民族器乐演奏家，几乎都出自专业音乐院校。本质上讲，以学校教育取代沿袭数千年来家族或社会的“自然传承”方式，是二十世纪中国器乐艺术迈向高度专业化的重要一步。

            二、演奏场合和表演功能的改变，是二十世纪中国器乐成为独立艺术门类的又一个要素。如前所述，以往的器乐演奏，多半依託于民俗事象或某种综合性艺术，其功能也具有“自娱”性质。但自一九二○年代起，受到西方专业表演方式和理念的影响，民族器乐演奏也单独登上音乐会舞台。这种情形到了一九五○年代以后更加普遍，而且成为中国器乐艺术演示的主要方式。器乐艺术表演舞台化，最终使之脱离对民俗事象、综合艺术的依赖而完全独立，成为“音乐会型”的器乐艺术。对于全面提高每类乐器的演奏技艺，实现器乐艺术的审美追求，这种“音乐会”型态，遂成为理想的表演空间。

            三、民间艺术大师进入音乐院校，为培养新一代演奏家发挥了关键作用。一九五○年代，在多次全国性文艺会演中，涌现出一批堪称大师的笛、管、笙、古筝、古琴、唢呐、板胡、琵琶等器乐演奏家，他们随后陆续被请到音乐院校或专业团体从事教学和表演。由于他们身怀绝技，传统功底深厚，到教学岗位后，在教学上发挥了巨大的作用。人们戏称他们为“一传手”，因为他们把传统艺术直接带进现代教育领域；称他们的学生为“二传手”，因为他们既师从民间大师学习，又系统学习专业音乐理论，成为从传统到现代教育的纽带。其后，他们又陆续培养了一批批各种乐器的青年演奏家。于是，由民间器乐大师和他们的一代又一代学生组成演奏家队伍，就成为二十世纪器乐艺术的中坚力量。

            四、传统音乐经典、民间优秀曲目的整理改编和作曲家的创作曲目，直接呈现了二十世纪器乐艺术的绰约风姿。丰富多样的作品，是构成一个独立的艺术领域的根本基础。二十世纪中国器乐艺术的曲目，主要来源于三个方面，一是历经千百年演奏实践的磨炼而被公认为是经典的许多杰作。二是经过重新整理、改编、加工的一大批民间乐曲。三是作曲家介入中国器乐创作之后的新作。三类作品各有自己的价值。前两类已经是公认的传统文化遗产，可以远播万代。后者则是推动中国器乐艺术不断向前、扩大其内在表现力、提升它的现代审美价值、让它永远充满创造活力的关键。数十年来，活跃于中国器乐创作领域作曲家不仅为许多乐器谱写了大量独奏作品，也为民族管弦乐队完成了多种体裁、不同规模的新作，为这门艺术的成熟贡献了自己的一份力量。

            五、组建大型民族管弦乐队，为充分展示中国器乐合奏艺术的独特魅力而进行长期试验。“大同乐会”的新型乐队虽然时间不长，成就有限，但它开了风气之先。一九五○年代，这种吹、打、拉、弹齐备的新型民族管弦乐队先后在北京、上海等地陆续成立。一九七○年代后，香港、台湾、新加坡也成立了大体相同的民族管弦乐队。数十年来，民族管弦乐队经过演奏家、指挥家、作曲家的实践和努力，作品、体裁日益增多，表现力日益丰富，演奏技艺全面提高，已经成为现代中国合奏艺术的一种范式，也是全世界公认的有影响的民族管弦乐队之一。

            总之，专业音乐院校的建系设科、表演的舞台化、优秀的演奏人才、丰富的表演曲目、专业作曲家的深度参与，最终完成了从传统器乐艺术到当代器乐艺术的转型，使器乐艺术成为二十世纪中国音乐的一个灿烂的篇章，它也是二十世纪的音乐家回应时代的要求而用自己的创新精神献上的一份厚礼！

            自一九九○年代以来，龙音制作有限公司一直致力于中国器乐音响文献的出版，制作了一批有价值、高质量、十分精美的音响专辑，不仅在民族器乐界获得佳评，而且，也为广大器乐爱好者称道。这一次，他们以“典藏”方式，集古琴、二胡、琵琶、筝、笛及其它弓弦乐器（板胡、中胡、高胡、坠琴、京胡、大擂、马头琴）、吹奏乐器（笙、管、箫、唢呐、埙、口笛）、弹拨乐器（三弦、扬琴、阮、月琴、柳琴、箜篌）以及合奏、协奏于一系，合传统经典、旧曲改编、现当代新作于一集，名家齐聚、体裁多样、曲目丰富、流派纷呈，集中而全面地反映了二十世纪中国器乐艺术的总体面貌。编者对这一艺术门类瞻瞩之高远，希望之热切，珍爱之深挚，皆融注于每一集、每一曲、每一装祯设计中。故，听之赏之，阅之读之，我们不仅会为二十世纪的中国器乐艺术取得的高度成就所震撼，而且，也会被本系列编者的文化自觉精神所感动！

            有感于此，笔者不揣冒昧，以“二十世纪的中国器乐艺术”为题，权且充作序言，不当之处，恭请各位方家正之。

[注1]关于“民俗型”、“雅集型”、“剧场型”的理论，请参照黄翔鹏：《论中国古代音乐的传承关係》一文，见《传统是一条河》，人民音乐出版社1992

[注2]郑觐文：《大同乐会之新组织》

乔建中 写于2007年10月10日，京东南三环医院。

乔建中：

前中国艺术研究院音乐研究所所长

中国音乐家协会民族音乐委员会委员

中國傳統音樂學會副會長

国际传统音乐学会中国大陆地区联络员 

20^th century Chinese instrumental music art

Qiao Jian-zhong

Wrote on 10 October, 2007

At San Huan Hospital, East-south of Beijing

In the thousands of years of Chinese Music history, 20th century has the extremely special status and the significance.

During more than hundred years, complied with the Chinese society, the economical, the cultural comprehensive reforming historical trend about several generation of musicians seeks, is industrious at the creation, careful and also the wisdom processes the center which a front surface came – west, ancient – now, elegant – has been vulgar and so on the multiple relations, goal like place devotes to from the tradition to modern switching over, finally was 20th century Chinese music cultural establishments has achieved two splendid annals great accomplishments. First, comprehensively systematically the record reorganized the survival to various national various areas richly colorful tradition music inheritance, its public publication, causes it to become the China national culture the precious book. Second, take the Chinese tradition music resources as the basis, the widespread absorption, profits from the western specialized music the idea, the technique, creates one kind to be different with the traditional music literature style, the style brand-new music, like song, chorus, opera, ballet, instrumental music solo, symphony, concerto, national orchestral music and so on, thus caused 20thcentury China music structure to have the overall situation transformation. These two achievements, former is makes take the music scientist as the main body, latter is completes together by the composer and the performing artist. In the Chinese music history, they are extremely unprecedented.

Chinese instrumental music art 1s well-established and the accumulation is rich. In the antiquity literature so-called “strikes Shi Fushi”, “the drum Qin drum Chinese zither”, “the drum meets”, “Jin Shengyu inspires” the description as well as “the primary tooth falls the qin” the fable to be allowed to regard as is it splendid “the introduction”. But Chinese Wei time “Qin Bestows on” (Ji Kang), “QinHolds” (the Cai Nanning), “Flute Bestows on” (horse to melt), “Pipa Bestows on”, “Zheng Bestows on”, “Bestows on” (teacher to be unreliable)”Sheng To bestow on” (Pan Anren), “Vertical bamboo flute Bestows on” (prince deep pool) Zhu Wen theory, then had reflected each kind of musical instrument unique performance strength and at that time the artistic achievement which achieved at the performance. Hereafter, performance technique and so on the Tang Dynasty jie drum, seven string qin, pipa, zheng is highly mature. Song Yuanyi falls, on the one hand because the traditional entertainment involving talking and singing, the drama gradually formed promoted the musical instrument accompaniment specialization, on the other hand, the folk sacrificial offering, the holiday, the ritual vulgar activity urgent needed happy to cause the gong music, the string and woodwind instruments, to promote happy, the string is happy and so on the different orchestra to combine enlivens to the general folk societies. In long reaches the millennium the performance to practice, regardless of is minority is long to the solo musical instrument, like qin, pipa and soon, or each kind of small instrumental ensemble orchestra, not only accumulated the massive outstanding programs, moreover, in musical instrument performance technique expansion, enhancement, standard aspect, also all from becomes the system, consummates day by day, causes the instrumental music art to become all previous dynasties music indispensable constituent.

Although so, we or must point out, 20th century before Chinese instrumental music art certainly was not a completely independent performing arts class. If all previous dynasties palace orchestra, although musical instrument prepared, the scale 1s huge, but they mainly are serve for the palace etiquette, any uses happy, all must receive the etiquette system the restriction, but cannot freely and fully displays the orchestra own performance. They save with the palace etiquette rely on one another, we may call it “the palace ritual music” instrumental music art. Also like each kind of promotion, blows bugle and beats drums the orchestra, they all nearly are in the folk holiday, the celebration, the weddings and funerals, the ceremony believe in the activity to play, has with the folk custom culture paragenesis nature. Therefore, has the very big dependence regarding the folk custom phenomenon. This should be one kind “the folk custom” instrumental music art. Moreover for the traditional entertainment involving talking and singing, the drama, the dance accompaniment folk orchestra, they merely is the traditional entertainment involving talking and singing, the drama and so on at his kind of comprehensive nature performing arts constituent. Its performance strength utilization, the display, is decided by this synthesis art itself need, but is impossible alone freely to perform. This may say is China -like “theater instrumental music art”. Instrumental ensemble art so, solo art? In the literature records many is the qin, the Xiao, the pipa, the zheng and so on. But they “the performance” the place, the majority is the official mansion, the brothel teahouse or the writer private room, its goal mainly is watches for the minority person or “by the happy society member”, the folk calls it “Ya Album”. In this kind of situation, the performer and audience’s relations are desalinated, but emphasizes is scene participant “the self-entertainment”, “from enjoys”. This is one kind “Ya Album” instrumental music art. [ Note 1 | in brief, counts the millennium the performance practice and art accumulates, causes the Chinese instrumental music art the resources incomparably to be rich. But it own special growth environment, namely with palace etiquette, folk custom phenomenon, drama acrobatics performance, writer interest long-term “paragenesis” and to their excessively dependence, congenitally causes this art to lack to the special technique, the esthetic trend sedulously pursue, thus also caused it to lack an achievement special domain some kind of independence.

After entering into 20th century, the feudalism thorough conclusion, 54New Culture Movement occurrence and the brand-new academic picture which appears as a result of the China and the West culture wide-ranging exchange, not only creates the Chinese politics, the economical century transition, moreover, also has expedited the new-vernacular literature, the new music, new artistic being born. Includes the instrumental music performing arts.

In 1915, Mr. Liu Tianhua created and plays his maiden work – “To get sick Recites”, at the same time it also was 20th century musicians in under the western specialized music creative idea influence, has the modern spirit first Erhu solosium. In 1919, Mr. Zheng Jinwen established “the Datong Lohwei” in Shanghai, afterwards set up in 1924including has played the ball various kind of traditions musical instrument, reaches 40 performers’ large-scale orchestras. This Lohwei’s objective is: “Specially practices regarding Western music host, searches into ancient matters regarding the center happy host with the transformation, is sure to hit the west to aid profit the cooperation, then the sincere its essence, proposes its guiding principle, opens a new era for the world music, by this meets goals of the Datong two characters.” [ Note 2 ] the Liu Tianhua Erhu creation sets up the new orchestra with the Datong Lohwei the attempt, officially has pulled open 20th century China musical instrument soloart and the instrumental ensemble art prologue, not only watershed, moreover has had the extremely profound influence. Under from now on during more than 80 years the later, Chinese instrumental music art will work with concerted efforts in the composer and national musical instrument performer, the reform will innovate, the repeated test, a group vanguard, gradually pushed this art to an unprecedented mountain peak.

20th century Chinese instrumental music art, therefore can become to be relatively independent quite has the achievement the modern performing arts category, obtains benefits to the below various factors.

First, the music colleges and universities bring into line with the national musical instrument the specialized ranks, is 20th century China instrumental music becomes the independent artistic performance class the first sign. Time it is well known, Shanghai “the state-run music courtyard” had been established from 1927, the pipa, Erhu, the guqin become this school a specialty. Although only has 23 musical instruments to enjoy this great honor, but it has established one kind of principle for the afterwards music colleges and universities. Therefore, 1950 ages each place conservatory had been established time, not only increased very many musical instruments, moreover has established “the national instrumental music department”, this becomes a specialty for more musical instruments, and played the talented person for the raise large quantities of special instrumental music to provide the most powerful safeguard. Near for several dozens year overwhelming majorities outstanding nationality instrumental music performer, nearly all stems from the specialized music colleges and universities. Essentially says, follows the number millennium by the school edition substitution to come the family or the society “the nature inheritance” the way, is 20th century China instrumental music art steps to the high specialization is important step.

Second, the performance situation and the performance function change, is 20th century China instrumental music becomes the independent artistic class an essential factor. As aforesaid, former instrumental music performance, mostly depends on to the folk custom phenomenon or some kind of comprehensive art, its function also has “the self-entertainment” the nature. But got up from 1920 ages, receives the western specialized performance way and the idea influence, the national instrumental music performance also alone mount the concert stage. Has later been more common this kind of situation to 1950 ages, moreover becomes the Chinese instrumental music art demonstration the fundamental mode. Instrumental music art performs the stage, finally causes it to be separated from to the folk custom phenomenon, the synthesis art dependence but is completely independent, becomes “the concert” the instrumental music art. Regarding comprehensively enhances each kind of musical instrument the performance technique, the realization instrumental music art esthetic pursues, this kind “the concert” condition, and then becomes the ideal performance space.

Third, the folk art master enters the music colleges and universities, for trained new generation of performer to play the key role.

1950 ages, in the nationwide theatrical festival, emerged one batch to may be called instrumental music performer many times and so on master’s flute, tube, Sheng, zheng, guqin, suona, board Hu, pipa, they afterwards one after another welcome were engaged in to the music colleges and universities or the specialized association the teaching and the performance. Because they have on one’s person the unique skill, the traditional foundation of basic skills is deep, after the teaching post, has played the huge role in the teaching. The people play called they are “as soon as pass on the hand”, because they directly take into the traditional art the modern education domain; Called they the student is “the passer”, because they already study from the folk master, also is the series study specialized music theory, becomes from the tradition to the modern education link. After that, they have trained one group of each kind of musical instrument young performer one after another. Thereupon, forms performer the troop by the folk instrumental music master and their generation of generation of student, becomes 20th century instrumental music art the nucleus.

Fourth, the traditional music classics, the folk outstanding program reorganization reorganization and composer’s creation program, has directly presented the 20th century instrumental music art graceful bearing. The bountiful work, 1s constitutes an independent artistic domain the basic foundation. 20th century China instrumental music art program, the main origin to three aspects, one is has been through repeatedly the tempering which in 1100 played practices to recognize for is the classical many masterpieces. Two is the process reorganizes, the reorganization, processing large quantities of folk musics. After three is the composer involves the Chinese instrumental music creation newly to do. Three kinds of works respectively have own value. The first two kinds already were the recognition traditional culture inheritances, but beyond broadcasts throughout the ages. Latter is impels the Chinese instrumental music art unceasingly to among them front, the expansion in the performance strength, to promote its modern esthetic value, to let it forever be full of the creation energy the key. For dozens of years, enlivened to the Chinese instrumental music creation domain composer not only have composed the massive solos work for many musical instruments, also completed the many kinds of literature styles, the different scale for the nationality orchestra have newly done, have maturely contributed an own strength for this art.

Fifth, sets up the large-scale nationality orchestra, for fully demonstrated Chinese instrumental music instrumental ensemble art the unique charm carries on the long-term test. “Datong Lohwei” the new orchestra although the time is not long, the achievement is limited, but it has opened the atmosphere first. 1950 ages, this kind blew, hits, pulls, the ball prepared new nationality orchestra successively in places such as Beijing, Shanghai one after another establishes. After 1970 ages, Hong Kong, Taiwan, Singapore have also established the more or less the same nationality orchestra. For dozens of years, the nationality orchestra after performer, compere, composer’s practice and diligently, the work, the literature style day by day increases, the performance strength is day by day rich, the performance technique comprehensive enhancement, already became the modern China instrumental ensemble art one kind of model, also was one of entire universally accepted influential national orchestras.

In brief, specialized music colleges and universities constructing is increasing, the performance stage, the outstanding performance talented person, the rich performance program, the specialized composer’s depth participation, finally has completed from the traditional instrumental music art to contemporary instrumental music art reforming, causes the instrumental music art to become 20th century China music a bright chapter, it also is 20th century musicians responds the time the request to use a generous gift which own innovation spirit offers!

Since 1990 ages, the dragon sound company continuously has devoted to the Chinese instrumental music sound literature publication, manufactures one batch to have the value, high grade, the extremely fine acoustic special edition, not only obtains in the national instrumental music good comments, moreover, also praises for the general instrumental music amateur. This, they by “the book reservation” the way, the collection guqin, Erhu, the pipa, the zheng, the flute and other stringed musical instruments (board Hu,center Hu, Gao Hu, fall qin, jinghu, greatly strike, horse’s headqin), the wind instrument (Sheng, tube, Xiao, suona, batardeau, mouthflute), the plectrum musical instrument (samisen, Yang Qin, Ruan, yukin, willow qin, harp) as well as the instrumental ensemble, the association play to a department, gathers the tradition classical, the old tune reorganization, the present age newly does to a volume, the famous expert oligomerization, the literature style diversely, the program 1s rich, the school numerously assumes, The centralism but comprehensively has reflected 20th century China instrumental music art overall appearance. The editor gazes to this artistic class stares at high far, the hope is earnest, the treasure loves the depth sincere, all melts the note to each volume, each tune, each as soon as installs the decoration and the design. Therefore, listens to 1tto enjoy it, reads it to read it, we not only can be 20th century Chinese instrumental music art obtain highly the achievement to shock, moreover, also can be moved by this series editor’s cultural aware spirit!

Has the feeling to this, the author ventures to, take “20th century Chinese instrumental music art” as the topic, the power also acts as the preface, does not work as place, respectfully requests fellow FangJiazheng it.

[ Note 1 ] about “folk custom”, “Ya Album”, “theater” the theory, please refer to the Huang Xiang huge mythical bird: “Discussed China Ancient times Music Inheritance Relations” an article, saw “Tradition Is a River”, people’s music publishing house 1,992

[ Note 2 ] Zheng Jinwen: “Datong Lohwei New Organization”