首都师范大学 硕士论文 导师：孟维平

 中文摘要 起源于欧洲的小提琴与钢琴是世界音乐史上公认的最重要的两种乐器。小提琴音色细膩、韵味独特、富于歌唱性,享有“乐器皇后”之美称。它的产生、发展与繁荣,经历了一个漫长的历史过程。 17世纪末,小提琴由传教士带入中国清朝宫廷,早期的北京小提琴艺术活动主要局限在宫廷里和来北京的外国人当中。20世纪初,小提琴在北京还未普及,海外留学生的归国和外籍音乐家的到来推动了小提琴艺术在北京的发展。留学法国的马思聪是贡献极大、影响至今的代表人物。建国初期,北京的小提琴表演、教育与音乐创作呈现出一派繁荣景象。然而自1958年起,政治活动逐渐增多。1964年,在毛主席对文艺界的两个重要批示产生以后,左倾错误更加严重,随之而来的“文化大革命”导致了正常的小提琴演奏、教学活动完全中断,音乐艺术遭到了空前的破坏。“文革”结束、改革开放后,北京小提琴艺术重新获得蓬勃发展,包括演奏家、作曲家和提琴制作家等在内的一大批音乐家在国际大赛频频获奖。以林耀基、王振山等为代表的北京小提琴家们不但学习和继承了法比学派、俄罗斯学派先进的理念与技术,而且还逐渐把它发展成为具有中国特色的小提琴理论和演奏艺术。事实证明,当代北京的小提琴教学水平、演奏艺术已步入国际水平的行列,中央音乐学院的小提琴专业音乐教育代表了北京乃至全国小提琴音乐教育的最高水平。可以说,北京作为政治文化中心和小提琴在中国的发源地,它的小提琴发展史就是一部中国小提琴艺术史的缩影。本文立足于北京,从教学、演奏、科研、创作及制作业等各个方面对北京小提琴艺术发展史的脉络进行梳理,并以此为基础,尝试分析与总结在国际大环境下的北京小提琴音乐的特征、优势及存在的问题,以期为北京乃至全国的小提琴艺术理论的发展和完善、音乐史学的丰富提供一些参考性的材料。  

英文摘要 The violin and piano originated in Europe which is regarded as two of the most important musical instruments in the history of world music. The violin is named as "the queen of musical instruments", because it has exquisite timbre, peculiar charm and elegant tone. It undergoes a long period of origination, development and prosperity.At the end of 17th century, violin was taken into Chinese court by the clergyman. The early violin performance in Beijing was mainly in the court and among the foreigners. At the beginning of 20th century, violin was not popularized yet. The overseas students who came back to China and some foreign musicians contributed to the development of violin in Beijing, among whom Ma Sicong who once studied in France was the representative. He made great contributions and his influences are still very powerful now. After the People's Republic of China came into being, the violin performance, education and music composing were very prosperous. Since 1958, the political activities became more and more active, and in 1964, Chairman Mao Zedong gave two important instructions to literary and art circles, since then the mistakes made by "the Left Wing" became more serious. The normal performances and teaching of violin were stopped because of the following "Great Culture Revolution", music and art suffered from an overwhelming destruction.With the reform and open-door policy, the violin art in Beijing regained its prosperity. A lot of musicians including the performers, composers and violin makers won prizes in the world competitions. With Lin Yaoji and Wang Zhenshan as the representative, Beijing violinists learned from the French School and Russian School and carried on their advanced theory and technique, and they gradually developed them into the theory of violin and art of violin performance which has the Chinese characteristics.Facts have shown that the modern teaching level of violin and art of violin performance in Beijing have stepped into the international level, and the educational level of violin performance in Central Conservatory of Music stands for the highest level of violin education not only in Beijing but also all over the country.The thesis chronologically discusses the development of violin in Beijing from the aspect of teaching, performance, research, composing and manufacturing. It attempts to analyze and sum up the feature, advantages and problems of violin music in Beijing, with the international violin music as the background. The thesis aims at providing some reference material not only for the development and improvement of violin art theory in Beijing and the whole country but also for the variety of the history of music.