萨朗吉被称为印度小提琴 是北印度民间乐器

萨朗吉(Sarangi)是北印度的一种民间乐器。被称为”印度的小提琴。

萨朗吉(Sarangi)是北印度的一种民间乐器。被称为”印度的小提琴。”它被引入古典音乐领域是在克雅尔出现之后。

萨朗吉是一种多才多艺的乐器，它可以模仿其他乐器的乐音和声乐的细微差别，它抚慰人心的冥思般的音色使它成为了古代声乐特别是克雅尔的理想的伴奏乐器。

在19世纪过去之前它一直是克雅尔和其他轻音乐类型如图穆里和达德拉的首选伴奏乐器。它还是宫廷舞伎表演时的主要伴奏乐器，这使得萨朗吉演奏者的社会地位比较低下。到了20世纪，虽然萨朗吉领域有一批大师级的人物，但是萨朗吉琴正在逐渐衰落，原因是风琴的引入而将其取而代之。

萨朗吉的衰落和风琴的崛起有一些原因。萨朗吉琴是一种笨重而复杂的乐器，调音十分困难。它学习起来较为困难，要花好些时间才能学会对它做些简单的控制。在独立之前，萨朗吉演奏者是歌女和舞女组成的团体中的一员。由于和这个团体的联系他们无法体面地被社会接纳。在独立之后，资助舞伎的贵族失去了经济来源，舞伎文化也作为一种奢侈的文化而沉淀消失了。随着这一切，萨朗吉演奏者的经济来源枯竭了，以至于下一代中没有人愿意熬过这艰苦的岁月而去掌握这门乐器。

(Sarangi)Folk musical instruments in northern India

Sarangi (Sarangi) is a folk musical instrument in northern India. It’s called “the violin of India.” “It has been introduced into the field of classical music in the khayal after.

Sarangi is a versatile instrument, it can imitate the nuances of other musical and vocal music, meditation, soothing tone as it makes it especially ancient vocal music accompaniment khayal ideal.

Before the nineteenth Century, it had been the first accompaniment of the preferred accompaniment of the clay and other light music types, such as figure Muri and Dadla. It is the main accompaniment of folk dancing in the palace, the Desalangji performer’s relatively low social status. By twentieth Century, although Sarangi field has a number of great masters, but Qin Ji Salang is on the wane, the reason is introduced and replaced by the organ.

There are some reasons for the decline of Sarangi and the rise of the organ. Salang Ji Qin is a heavy and complicated instrument, the tuning is very difficult. It is difficult to learn, it takes some time to learn to do some simple control over it. Before independence, Sarangi is a singer and performer in a group of dancers. Because of the association with this group, they can not be properly accepted by the society. After independence, the aristocracy of Kabuki lost its economic source, and the Kabuki culture was also disappearing as a luxury culture. With all this, the Sarangi performer’s economic source has dried up so that no one in the next generation wants to get through the hard times and master the instrument.

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