非遗普查发现 早西方1500年中国拉弦乐器

一件在中国古代乐器史上已经消失的乐器 挫琴在青州市被发现

一件在中国古代乐器史上已经消失的乐器，“非遗”普查中不仅在青州市被重新发现，而且还是有着活态传承的技艺，使得中国拉弦乐器的历史比西方早了1500年。这件可以说具有“活化石”意义的乐器就是青州挫琴。

战国末年，勇士荆轲刺秦王，好友高渐离送他到易水边，击筑为其送行唱的那首绝唱“风萧萧兮易水寒，壮士一去兮不复还”，就是用挫琴的前身“筑”演奏的。而乐器挫琴与“筑”同宗同族，一脉相承，这早在甲骨文中就有记载。
1957年初，以当时的益都县文化馆工作人员刘新丰为主，经过近3个月的时间，对挫琴艺术及演奏曲谱进行了整理，收录了近百首挫琴琴谱，曲目以四大调：《鸳鸯扣》、《四大景》、《满江红》、《叠落金钱》等抒情乐曲为主，都是基于挫琴独特的构造及特殊音色创作的。

上世纪五十年代，国家提出“百家争鸣、百花齐放”的文艺方针，民间老艺人颇受重视。1957年，已经是益都文化馆工作人员的赵彩云，参加了昌潍专区暨山东省第一届音乐会演，他自己创作改编并演奏的挫琴《鸳鸯扣》获得了金奖。
“不过，一次在从济南返回青州时，车上的人很多，那把获奖的挫琴装在布袋里被挤碎了。祖父很是心疼，又找到青州一个叫刘砚田的老木匠帮忙重新制作。”1960年，年仅14岁的赵兴堂去东北谋生，祖父赵彩云也于当年去世。1962年从东北回来，赵兴堂发现祖父的奖章等东西都没有了，只留下了一本挫琴琴谱，他将它收藏了起来，才得以保存至今。
从六七岁开始，赵兴堂就给祖父背琴，八九岁开始跟随祖父学琴，把挫琴的制作、演奏技艺都学到了。“文革”期间，赵兴堂家中的挫琴再次被毁了。“当时，心里很不是滋味，就知道挫琴是独一无二的，我一心想着把这个继承下来，再不继承就灭绝了。”
上世纪八十年代末，随着家里生活条件的改善，赵兴堂根据记忆自己制作了一把挫琴，挫琴的演奏技艺和制作方法得以再次被传承了下来 。

Chinese stringed instruments as early as 1500 in the West

A Chinese has disappeared in the history of ancient musical instruments musical instrument, “intangible cultural heritage” survey in Qingzhou city not only to be rediscovered, and still has a living heritage skills, the Chinese stringed instruments history earlier than the West in 1500. This musical instrument that has the meaning of “living fossil” is the Qingzhou lute.
The late Warring States period, warrior Jing Ke assassin, buddy Gao Jianli sent him to the easy water, hit buildings for its off song singing song “The wind blows strongly. the Yi River is so cold, a warrior to Xi gone”, is the predecessor of “building” and the piano playing. The instrument and Piano and “building” clan, this strain, it was recorded as early as the oracle.
At the beginning of 1957, at the time of Yidu County Cultural Museum staff Liu Xinfeng, after nearly 3 months of time, the piano and playing music art and collated, a collection of nearly one hundred and Qin tablature, with four tracks: “Yuanyang”, in “four king”, “Red River”, “die LuoJinQian” such as lyrical music, are based on the unique and special structure of piano and sound creation
In the 50s of last century, the Chinese government put forward the policy of “letting a hundred schools of thought contend and letting a hundred flowers blossom”, and the old folk artists paid much attention to it. 1957 is Yidu culture museum staff Zhao Caiyun, attended the first concert of Changwei area and Shandong Province, his own creation and playing piano and adaptation of “mandarin duck” won a gold medal.
“But once there was a lot of people on the train back from Ji’nan to Qingzhou, and the winning harp was crushed in a cloth bag. Grandfather was very distressed, and found an old carpenter named Liu Yantian in Qingzhou to help make it again.” In 1960, Zhao Xingtang, 14 years old, went to the northeast to make a living, and grandfather Zhao Caiyun died in the same year. 1962 come back from the northeast, Zhao Xingtang found his grandfather medal and other things are not, leaving only a contusion Qin tablature, he put it up, it still preserved.
From the age of six or seven, Zhao Xingtang gave his grandfather back piano, at the age of eight or nine with his grandfather piano, piano playing, and making skills are learned. During the “Cultural Revolution”, Zhao Xingtang’s harp was destroyed again. “At that time, the heart is not very taste, just know that the piano is unique, I was thinking of inheriting this, and then do not inherit the extinction.”
The last century at the end of 80s, with the family living conditions improved, according to their own memory Zhao Xingtang made a contusion and piano, playing skills and methods of making and Qin was again passed down to.

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