机经背景分类之吉他的历史.docx

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1、智课网TOEFL备考资料机经背景分类之吉他的历史 吉他的history 根据格罗夫(Grove)音乐辞典记载，古典吉他为鲁特琴族(Lute family)中具有琴格的拨弦乐器。关于吉他起源及其形成之研究，可说是众说纷纭 这些理论包括了： 1.从古希腊齐特琴(Kithara)及吉他之语源学说(Etymology)中研究得来。 2.部分学者推论认为吉他是从美索不达米亚(Mesopotamia)，及安娜多利亚(Anatolia)发现的长颈鲁特琴(Lute)所演变而来。 3. 另一部分学者研究发现吉他是由阿拉伯传入欧洲，因为在埃及发现平扁琴背之哥普鲁特琴(Coptic Lute)，或可认为是吉他的前身

2、。由于以上大部分均为推论，且早期音乐文献多半失散，以至于在缺乏直接证据的状况下，目前对于吉他真正的起源尚未形成定论，只能从非古典吉他及其他音乐历史文献中寻找可靠而相关的蛛丝马迹。 在中世纪文学中出现和吉他有关的乐器名称，法国称之为Giterne，英国则是gitarer。法国诺曼底公爵(Duke of Normandy)所拥有乐师名单中，有赫特马(Jean Hautmar)弹奏Guiterre Latine及拉贝(Richard Labbe)弹奏Guiterre Moresche等古吉他琴族乐器之记载。马肃(Guillaume de Machaut)亦列出Morache et Guiternes

3、为鲁特琴族之一。 由于当时古吉他琴族中的拉丁吉他Guitarra Latina，吉他Guiterne及摩尔吉他uiterreMoresche等音量不能和鲁特琴相抗衡，因此在欧洲大陆吉他无法广为流传，直到文艺复兴时期西班牙出现了比维拉琴(Vihuela)及四弦吉他(Four-Course Guitar)之后，吉他的地位才开始奠定了雏形。 一般称古典吉他为西班牙吉他，因为从16世纪以后，比维拉琴及四弦吉他首先在伊比利半岛上萌芽发展，随后才发展成巴罗克时期五弦吉他，六弦吉他，最后六弦吉他亦在西班牙境内孕育出吉他第一黄金时期，到了现代古典吉他大师塞戈维亚(Andres Segovia)手中，更进一步将

4、古典吉他艺朮推广到欧洲之外的亚洲及美洲，形成古典吉他史上的第二黄金期。在古典吉他的演变时期中，虽然也正是音乐史上巴罗克、古典、浪漫时期，器乐己成为主流然而当时吉他却因为无法和交响乐团整体音量匹敌，加上其本身之特殊风格，与乐团乐器之配置有所隔阂，因此成为一独奏乐器。 至于六弦吉他的出现，虽然大部分学者均相信是在法国以及义大利所开始，但却没有任何当代文献证明是由谁最早开始制作。反而有一位德国的小提琴与吉他制琴家雅寇奥古斯特。奥图(Jacob Augustus Otto)自称是他在接受了德勒司登的乐团指挥纽曼先生(Herr Neumann)的一张六弦吉他订单之后，特别为他所设计制造的。这似乎表示六弦

5、吉他是在德国首先出现的，但是有件事绝对不能忽略，这位制琴师奥图早年均在义大利学习制琴，很有可能当时他就已经在学习过程中见过这种吉他的雏形了。 至于西班牙采用六弦吉他的起源，虽然没有书面的记载，但一般相信大约在1820年左右，因为著名的西班牙吉他作曲家兼演奏家阿瓜多(Dionisio Aguado)为六弦吉他所写的教本于1825年在马德里出版，足以证明在此之前，六弦吉他已经有部分人开始使用，所以才会需要这样的教本。 在18世纪末至19世纪初，六弦吉他的发展也逐渐产生一些较为常见的特征，例如由于琴身上下较宽部分又加宽了些，使得曲线更为明显琴桥固定琴弦的方式是将弦缠在本制插梢上，再插入琴桥上预先挖好

6、的六个小孔中加以固定，取代了这之前直接缠绕在琴桥上的设计 到了19世纪早期，在琴桥又加上了狭长的骨片或象牙片，作为下弦枕。此外，指板也继续延伸到音孔旁。虽然无法查证何时开始采用这种设计，但可以将其归功于一位德籍制琴家乔治史道弗(George Staufer)，值得注意的是，他也是后来 移民 至美国纽约，并成为美国制琴工业先驱的著名制琴师马汀(Christian Friedrich Martin)的老师。马汀后来在美国研究发展出本土的钢弦吉他，也就是现在流行音乐界所广为使用的民谣吉他鼻祖，有别于当时在欧洲仍采用的羊肠弦吉他。 19世纪早期，吉他形状渐渐改变发展成接近现代吉他的外观：金属弦纽取代木

7、制纽头挖空的音孔取代玫瑰纹饰的音孔琴桥提高了扁平的背板变成标准形式第十二琴格对准琴颈和音箱联结处，此外，华丽的装饰也几乎完全消失了。 在这名家辈出的时代，必须提到这位被称为近代吉他制作之父的著名人物，西班牙制琴师安东尼奥托雷斯(Antonio de Torres Jurado, 18171892)。他所设计出的吉他新形式，可说是凌驾于在这之前所有形态的吉他。他将弦长定为65公分，琴身内部构造以响孔为起点，在音箱内部配置有七根扇形力木，并将原本较为窄小的琴身扩大，这种设计大大地提高吉他的音响效果，引起各著名制琴师的仿效，成为现代古典吉他的制作典范。 19世纪早期，吉他形状渐渐改变发展成接近现代吉

8、他的外观：金属弦纽取代木制纽头挖空的音孔取代玫瑰纹饰的音孔琴桥提高了扁平的背板变成标准形式第十二琴格对准琴颈和音箱联结处，此外，华丽的装饰也几乎完全消失了。 在这名家辈出的时代，必须提到这位被称为近代吉他制作之父的著名人物，西班牙制琴师安东尼奥托雷斯(Antonio de Torres Jurado, 18171892)。他所设计出的吉他新形式，可说是凌驾于在这之前所有形态的吉他。他将弦长定为65公分，琴身内部构造以响孔为起点，在音箱内部配置有七根扇形力木，并将原本较为窄小的琴身扩大，这种设计大大地提高吉他的音响效果，引起各著名制琴师的仿效，成为现代古典吉他的制作典范。 A Brief His

9、tory of the Guitar There is evidence that a four string, guitar-like instrument was played by the Hittites (who occupied a region now known as Asia Minor and Syria) around 1400 BC. It had characteristically soft, curved sides-one of the primary features of anything identifiable as a guitar or predec

10、essor. The Greeks also produced a similar instrument which was later modified by the Romans, though both versions appear to have lacked the curved sides. What is interesting here is that it seems this Roman cithara appeared in Hispania (now known as Spain) centuries before the Moorish invasion. It h

11、ad long been assumed that it was only after this invasion and the introduction of the Arabic ud in the South that a guitar-like instrument first appeared in Spain. But with the Roman cithara arriving centuries prior, we might say that although the ud influenced the development of the guitar it is no

12、t the true ancestor. According to this theory, the Spanish guitar derived from the tanbur of the Hittites, kithara with a k of the Greeks and then the cithara with a c of the Romans. However, following the arrival of the Moors, the Roman cithara and the Arabic ud must have mixed and exerted mutual i

13、nfluences on one another for many centuries. Although there is no specific documentation, it is likely that makers of uds and citharas would have seen each others work, if only through presentation by traveling troubadours. By 1200 AD, the four string guitar had evolved into two types: the guitarra

14、morisca (Moorish guitar) which had a rounded back, wide fingerboard and several soundholes, and the guitarra latina (Latin guitar) which resembled the modern guitar with one soundhole and a narrower neck. In the late 1400s, the vihuela was born by adding doubled strings and increasing its size. It w

15、as a large plucked instrument with a long neck (vibrating string length: 72 to 79 cm) with ten or eleven frets and six courses. It was the vihuela which became the preferred instrument of the Spanish and Portuguese courts and remained so until the late 1600s when orchestral and keyboard instruments

16、became more prominent. Although the guitar existed concurrently during this period, the vihuela and lute had overshadowed it until the end of the 17th century when the lute had acquired too many strings, was too hard to play and tune, and the vihuela was slowly replaced by the four and five course g

17、uitars (which had seven and nine strings respectively: one single high string, and three or four remaining courses-or pairs-of strings). It was perhaps the addition of the fifth course in the late 16th century that gave the guitar more flexibility and range and thus improved the potential of the rep

18、ertoire that led to its ascent. By the end of the 18th century and the beginning of the 19th, some guitars already used six single strings and employed fan struts under the soundboard. These struts were added for structural support to allow thinning of the top for greater resonance and for better di

19、stribution of sound across the board. Other contemporaneous developments included the use of a reinforced, raised neck using ebony or rosewood for the fingerboard, and the appearance of machine tuners in place of the wooden pegs. (It is noteworthy that the raised fingerboard had a great impact on th

20、e technique of the instrument since the strings were then too far from the soundboard to rest ones finger on the face for support.) These guitars would be unmistakably recognized by us as early classical guitars. Beginning with the early 19th century, in the works of Agustin Caro, Manuel Gonzalez, A

21、ntonio de Lorca, Manuel Guiterrez from Spain and other European makers including Rene Lacote, and Johann Staufer, we find the direct predecessors of the modern classical guitar. By 1850, the guitar was prepared for its most important breakthrough since its inception, the work of Antonio Torres Jurad

22、o. With the encouragement of Julian Arcas and his own brilliant intuitions, Torres refined the strutting of the guitar to include as many as seven struts spread out like a fan under the soundboard. He increased the body size and the width of the neck considerably. These improvements allowed for grea

23、ter volume and bass response as well as the development of a left hand technique for richer repertoire. The guitar was now prepared for the demands of the solo performer and the concert stage. Although there have been continued developments since the middle 1800s, our modern guitar retains most of w

24、hat was developed nearly 150 years ago. No one can say if we have reached the end of the evolution of the guitar, but until now, many of the best guitars from the point of view of volume, projection and sheer beauty of tone were made by the great makers, Torres, Ramirez and Arias from the second half of the last century! 小马 过河国际教育为大家介绍好了机经背景分类之吉他的历史，如果大家还有什么问题的话，请拨打电话：400-0123-267，与小马名师进行一对一交流。