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福建师范大学 硕士论文 导师：王耀华 乔建中

中文摘要 本文运用民族音乐学的研究方法，首次对传统京剧时期京胡伴奏艺术规律作一次多层、全面的揭示：首先，对京胡自身形制构造发展、成熟的过程，以及京胡在京剧皮黄腔伴奏乐队中“主奏地位”确立的历程作了系统的概述和梳理；在对京胡历史沿革的考察过程中，初步解答了京胡具有“清脆、明亮”的音色、独特的形制构造、以及能够成为京剧剧种风格代表的“主奏乐器”的原因。 其次，深入分析了京胡伴奏音乐的宫调、技法、一般形态特征以及个性流派风格等京胡伴奏音乐形态层面艺术规律的构成；在此基础上，进一步研究了这些艺术规律形成的过程和产生的原因。并且联系京胡伴奏的艺术实践，探讨了京胡伴奏音乐形态规律的运用与艺术表现需要之间的密切联系。再次，笔者在传统已有的琴师传记资料的基础上，以较大的篇幅对传统京剧中琴师的职能、以及琴师自身进行了多维分析。其中，通过对作为“主奏者”的琴师在传统京剧所承担的多重职能、以及实施其职能的行为和过程的认识，进一步揭示了传统京剧伴奏艺术乃至表演艺术的风格特征，而通过对琴师主体自身的多维分析，更深入地认识了传统京剧的戏班乐队组织、经济基础、演出、伴奏机制和习惯、演出中的演员、乐手和观众的沟通方式等等。最后，透过现象看本质，从美学高度来揭示京胡伴奏艺术最为突出的“主奏性”和“程式性”等审美特征。进而推绎出：京胡伴奏艺术中“主奏性”与“程式性”这一对共生的审美特性，在传统戏曲伴奏艺术中具有普遍的意义。  

英文摘要 By means of Ethnomusicology, the thesis tries to throw light on the regular patterns of JingHu accompaniment in traditional PeKing Opera in perspective for the first time. Firstly, it elucidates systematicly on the development of the instrument's construction and the establishment of its"leading position" in the "PiHuangQiang" accompaniment band of PeKing Opera. Investigating the evolution procedure of JingHu, it gives regarding the tone colour of "clearness, brightness", the distinctive construction and its "leading position" in accompaniment performance in PeKing Opera. Secondly, it analyzes profoundly the formation of the art patterns of JingHu accompaniment music, referring to GongDiao, craftsmanship, ordinary formula characteristics, individual style of different sect and so on. Furthermore, it illuminates on the formation procedure of the art patterns as well as the formation cause. In reference to his own performance practice, the author also shous the connection between the application of the art patterns of JingHu accompaniment music and the necessity of concrete music performance. Thirdly, owing to large amount of biographical material about traditional musicians, the author analyzes in a large space the musician's functions as well as the musicians themselves in different perspective.therefore fills the gaps in the research on PeKing Opera musicians. On the basis of such steps, the author shows the accompaniment artistry of traditional PeKing Opera and the stylistic characteristics of its performance. Meanwhile, the author investigates profoundly the band organization of traditional PeKing Opera,the economics base, the communication way between musicians and spectators, etc. Finally, the thesis reveals the most outstanding aesthetic characteristic in JingHu accompaniment artistry, such as "ZhuZouXing" and "ChengShiXing". Morever, the author comes to conclusion that the two intergrowth aesthetic characteristics mentioned above are universal in accompaniment artistry of traditional Chinese Opera.