18. 翁志文2004，《关于音准点的测定与相关问题研究--以阿炳〈二泉映月〉为例》，国

立台南艺术大学、中国艺术院音乐研究所《音乐文化》待发。

19. 欧光勋2001，《探讨二胡借舰二弦伴奏客家采茶戏中〈平板〉的各种可能》《两岸客

家表演艺术研讨会论文集》

20. 赵寒阳1999，《二胡技法与名曲演奏提示》，华乐出版社 21. 萧前勇1999，二胡名曲赏析，北京: 蓝天出版社

22. 蒋风之、蒋青1989，《蒋风之二胡演奏艺术》，人民音乐出版社

23. 宋国生1984，《二胡演奏艺术》，百花文艺出版社1984 年版, 第16-17 页 24. 姜元禄1980，《试论刘天华二胡曲的旋律特征》，南京艺术学院学报 25. 崔凤远1991，《刘天华在二胡上的卓越贡献》，民族民间音乐 26. 赵寒阳2000，《什么是二胡的乐感》，乐器

27. 胡志平1988，二胡曲《汉宫秋月》的美学思想及其表现技巧，黄钟

28. 金伟2002，从唐诗《新婚别》到二胡曲《新婚别》，交响: 西安音乐学院学报 29. 》新民1988，左右手的基本技法--兼谈二胡发音的一些问题，《黄钟》1988 年第1 期:

p. 49-p. 57

30. 冯明》1999，二胡文化论，交响

31. 赵寒阳2001，二胡经典名曲50 首详解，北京: 海潮出版社 32. 陈兴华2004，二胡上有三种音准形式，乐器

33. 赵建培2005，二胡的音准问题，乐府新声: 沈阳音乐学院学报 34. 张寒秋2002，二胡千斤改革的回顾与展望，中国音乐 35. 杨晓莺2004，二胡的传承与发展，福建艺术 36. 丰元凯2004，二胡的挑选与保养，中国音乐教育 37. 张飞龙2001，二胡演奏中的音准控制，小演奏家 38. 于雪琴2006，二胡运弓技法浅谈，艺术百家

注释 参考资料

? ?

《二胡广播教学讲座》(张韶编著，上海音乐出版社，1989年10月)

Lee Yuan-Yuan and Shen, Sinyan 沈星扬. Chinese Musical Instruments (Chinese Music Monograph Series). 1999. Chinese Music Society of North America Press.

ISBN 1-880464-03-9

?

Shen, Sinyan 沈星扬. Chinese Music in the 20th Century (Chinese Music Monograph Series). 2001. Chinese Music Society of North America Press. ISBN

1-880464-04-7

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Erhu

The erhu (Chinese: 二胡; pinyin: èrhú), also called nanhu (南胡, \fiddle\and sometimes known in the West as the \violin\or \Chinese two-string fiddle,\is a two-stringed bowed musical instrument, used as a solo instrument as well as in small ensembles and large orchestras. It is the most popular instrument in the huqin family of Chinese bowed string instruments, together with the zhonghu, gaohu, banhu, jinghu, sihu, and numerous others. Used in both traditional and contemporary pieces, it is a versatile instrument.

History

The erhu can be traced back to instruments introduced into China more than a thousand years ago. It is believed to have evolved from the xiqin (奚琴), which was described as a foreign, two-stringed lute in Yue Shu (樂書, yuèshū,

lit. book of music), an encyclopedic work on music written by music theorist Chen Yang in the Northern Song Dynasty. The xiqin is believed to have originated from the Xi people of Central Asia, and have come to China in the 10th century.

Erhu with liu jiao qin tong (6 sided body)

The first Chinese character of the name of the instrument (二, èr, two) is believed to come from the fact that it has two strings. An alternate

explanation states that it comes from the fact that it is the second highest huqin in pitch to the gaohu in the modern Chinese orchestra. The second character (胡, hú) indicates that it is a member of the huqin family. The name

huqin literally means \barbarian instrument,\likely originated from regions to the north or west of China inhabited by non-Han peoples.

Historical erhu and bowed string bows

Historic bowed zithers of China, including the xiqin, yazheng, and yaqin, and also the Korean ajaeng, were originally played by bowing with a rosined stick, which created friction against the strings. As soon as the horsehair bow was

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invented, it spread very widely. This is a high pitched instrument. The Central Asian horse peoples occupied a territory that included the Silk Road, along which goods and innovations were transported rapidly for thousands of miles across Eurasia.

Construction

The erhu consists of a long vertical stick-like neck, at the top of which are two large tuning pegs, and at the bottom is a small resonator body (sound box)

which is covered with python skin on the front (playing) end. Two strings are attached from the pegs to the base,

and a small loop of string (qian jin) placed around the neck and strings acting as a nut pulls the strings towards the skin, holding a small wooden bridge in place.

Picture showing bow hair in between the two strings.

The erhu has some unusual features. First is that its characteristic sound is produced through the vibration of the python skin by bowing. Second, there is no fingerboard; the player stops the strings by pressing their fingertips onto the strings without the strings touching the neck. Third, the horse hair bow is never separated from the strings (which were formerly of twisted silk but which today are usually made of metal); it passes between them as opposed to over them (the latter being the case with western bowed stringed

instruments). Lastly, although there are two strings, they are very close to each other and the player's left hand in effect plays as if on one string. The inside string (nearest to player) is generally tuned to D4 and the outside string to A4, a fifth higher. The maximum range of the instrument is three and a half octaves, from D4 up to A7, before a stopping finger reaches the part of the string in contact with the bow hair. The usual playing range is about two and a half octaves.

Various dense and heavy hardwoods are used in making the erhu. According to Chinese references the woods include zi tan (紫檀 red sandalwood and other woods of the genus Pterocarpus such as padauk), lao hong mu (老红木 aged red wood), wu mu (乌木 black wood), and hong mu (红木 red wood). Particularly fine erhus are often made from pieces of old furniture. A typical erhu measures 81 cm from top to bottom, the length of the bow also being 81 cm.

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Erhu with ba jiao qin tong (8 sided body) The parts of the erhu:

Qín tong (琴筒), sound box or resonator body; it

is hexagonal (liu jiao, southern), octagonal (ba jiao, northern), or,

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less commonly, round. ? Qín pí/She pí (琴皮/蛇皮), skin, made from python. The python skin gives the erhu its characteristic sound.

? ?

Qín gan (琴杆), neck.

Qín tou (琴头), top or tip of neck, usually a simple curve with a piece of bone or plastic on top, but is sometimes elaborately carved with a dragon's head.

Qín zhou (琴轴). tuning pegs, traditional wooden, or metal machine gear pegs.

Qiān jin (千斤), nut, made from string, or, less commonly, a metal hook. Nèi xián (内弦), inside or inner string, usually tuned to D4, nearest to player.

Wai xián (外弦), outside or outer string, usually tuned to A4.

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Qín ma (琴码), bridge, made from wood.

Gong (弓), bow, has screw device to vary bow hair tension. Gong gan (弓杆), bow stick, made from bamboo.

Gong máo (弓毛), bow hair, usually white horsehair.

Qín diàn (琴垫), pad, a piece of sponge, felt, or cloth placed between

the strings and skin below the bridge to improve its sound.

? Qín tuō (琴托) - base, a piece of wood attached to the bottom of the qín tong to provide a smooth surface on which to rest on the leg. Most erhu are mass produced in factories. The three most esteemed centres of erhu making are Beijing, Shanghai, and Suzhou. In the collectivist period after the establishment of the People's Republic of China, these factories were formed by merging what had been previously private workshops. Although most erhu were machine-made in production lines, the highest quality instruments were hand made by specialist craftsmen.[1]

In the 20th century, there have been attempts to standardize and improve the erhu, with the aim of producing a louder and better sounding instrument. One

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