民族音乐世界 [复制链接]

横山胜也是琴古流尺八大师，
武满彻的御用尺八演奏家横山胜也

Toru Takemitsu   - Orchestral Works III

1. Autumn - into the fall after a little while (1973)
for Biwa, Shakuhachi & Orchestra
2.A Way a Lone II (1981)
for String Orchestra
3. I Hear the Water Dreaming (1987)
for Flute & Orchestra
4. Twill by Twylight (1988)
for orchestra
(in Memory of Morton Feldman)
Katsuya Yokoyama, shakuhachi (track 1)
Kakujo Nakamura, biwa (track 1)
Hiroshi Koizumi, flute (track 3)
Ryusuke Numajiri, conductor
Tokyo Metropolitan Symphony Orchestra

一代名家洞箫大师陈重
音乐教育家、吹弹大师，天津音乐学院教授陈重，1919年出生于上海，自幼对江南丝竹音乐有独好，追随舅父学习二胡、笛子、十二岁参加民间的丝竹集会等演出活动。1936年师从著名演奏家孙裕德学习琵琶及洞箫，又向古琴大师张子谦，吴景恬学习古琴，他博采众长，在笛子、洞箫、琵琶、古琴、二胡、古埙等多种乐器上，均有很高的造诣，为国内有数的民乐多面手之一。他先后改编创作了琵琶、二胡、中胡三重奏《青春》；吹打乐《大步步高》；笛子曲《怀古》、《朝元歌》；箫、筝二重奏《妆台秋思》；埙筝二重奏《楚歌》等乐曲。1956年参加文化部、中国单协首届音乐周、同年九月应邀担任沈阳音专笛子教学，1957年先后在天津，河北师院、音乐学院担任琵琶、笛子、洞箫、古琴教学，并兼任中央音院、民族学院、解放军艺术学院专业教学多年。1979年对古乐器陶埙进行了研究，改革、制成了九孔、十孔陶埙，并自编乐曲，在国内外产生巨大影响，1994年75岁高龄的陈重先后赴日本、法、瑞士、意大利、德国、美国、香港、台湾等地请学、演出、受到极高的赞誉。三十余年的教学及六十多年的艺术活动，造就弟子满天下，被中国前音协主席品骥赞为“民族正声”。
Chen Zhong  
Music from Shanghai
法国OCORA公司出品
Chen Zhong is one of China's most revered musicians and teachers. Seventy-five when this recording was made, he has spent a lifetime playing several instruments and keeping the Shanghai style alive. This is music for two, three, or four play and Zhong is accompanied by two Chinese musicians and the French Sino-musicologist Francois Picard. In various combinations they play flutes, ocarina, fiddles, and zithers. The ocarina in question is not the Western ocarina of course, but a round clay flute with a 7000-year history; reviving its use in secular music is one of Zhong's many achievements. Zhong plays solo pipa (lute) on one track and exhibits some impressive fingerpicking. On another, Zhong plays end-blown flute (something like a recorder) and is accompanied by Yang Lining on the zheng zither, which in this piece is strummed gorgeously in the manner of a harp. In general, the music is refined but always listenable. A pleasant addition to a Chinese classical music collection.

Stephan Micus1953年生于德国，16岁时第一次出游东方，其后遍游亚非欧美各国，在我国新疆地区也留下过他的足迹。每到一处他都追随当地的音乐大师学习许许多多的传统乐器，但Micus并非只是以传统的方式去演奏这些乐器，而是充分发掘出这些乐器音色和表现力上更大的可能性。他在许多作品中使用的乐器组合是前所未有的，而所有乐器都由他一个人演奏。

这张唱片用了日本的尺八(shakuhachi)和笙(sho)，阿富汗Rabab，泰国笛(Thai Flute)，巴伐利亚的齐特琴(zither)，印度的西塔琴(sitar)，但事实上Stephan Micus的声音就已经足够让人诧异了。

(转贴）
中国：陈雷激 - 古琴，梅庵琴谱
China: Chen Leiji - Qin Zither, Album of the Prunus Hermitage

1967年出生于上海音乐世家，9岁开始学习古琴，12岁考入上海音乐学院附中古琴专业，直至大学毕业。十余年学琴生涯，一直师从于古琴演奏家、教育家龚一先生，在古琴演奏上打下了极其坚实的基础。他出音刚劲，徽分精到，音准从不含糊游离；表现上追求拙朴纯真，摒弃矫柔造作，重功力而轻外表，听来既豪放跌宕，又清丽委婉，舒展惬意，意味无穷。1989年录制专辑《七弦一绝》。

大学毕业后陈氏旅居法国。在法期间，攻读了法国（Reims）国际州立音乐学院及（Ruerl-Malmaison）该院的指挥专业。他指挥过“欧共体青年交响乐团”；美国“Blue Lake”青年交响乐团；“葡萄牙里斯本市立交响乐团”；南斯拉夫“Sarajevo”歌剧院乐团；波兰“Katowice”交响乐团；意大利 “Pesccarese”市立乐团；“上海广播交响乐团”；“兰州市交响乐团”；“成都市交响乐团”；并担任过“上海音乐学院青年交响乐团”法国巡回演出特邀指挥；“北京葡萄牙现代音乐节”特邀指挥；“法国（Ruerl-Malmaison）国际州立音乐学院青年学生乐团”音乐总监及常任指挥等。

与此同时，他还不忘弘扬国粹古琴艺术。在欧洲等地，他先后举办了个人古琴独奏音乐会达百场之多，并与西方交响乐团合作，尝试罗忠鎔作曲的古琴协奏曲《琴韵》、刘湲作曲的古琴协奏曲《幽兰》、陈其钢作曲的《古琴协奏曲》等作品。还出版了十多张古琴专辑，其中由法国国家广播电台（RADIO FRANCE）“OCORA”出版的《梅庵琴谱――陈雷激古琴独奏专辑》荣获2005年法国Charles Cros基金会评选的“世界音乐最佳演奏唱片奖。

在这张专辑里，Stephan Micus又用到了一些民族乐器：比如印度的印度弓弦乐器迪尔鲁巴Dilruba ，有4条金属弦和24条共鸣弦。琴品(fret)和西塔琴类似。还有巴厘岛的苏利Suling ，内空的簧片乐器，是巴厘岛甘美朗(Gamelan)乐器的一种，和牧童笛(recorder)很像。爱尔兰的民间乐器—爱尔兰哨管（TIN WHISTLE）。
还有一种乐器：Ki Un Ki
KI UN KI 西伯利亚部落的管乐器，是一条两米长的管（类似芦苇），和其他的管乐器不同，Ki Un Ki不是通过吹气而是通过吸气发声。它的音色容易使人联想到小号。它没有指孔，因此音高只能通过嘴唇的压力来调整。

哎，尺八是我国乐器，现在竟是日本演奏得好。

陈重先生的唱片在哪里还能买到?

原帖由 桂猪 于 2009-8-12 0:16:00 发表 哎，尺八是我国乐器，现在竟是日本演奏得好。

日本的尺八与我国现在的尺八有些不同（吹嘴不一样）。

继续我的世界民族音乐之旅~~~~~~

先贴一张这个：
美洲原住民长笛音乐 (印第安音乐)

美洲原住民长笛演奏家R.Carlos Nakai ，印第安音乐当今受到世界广泛关注，印第安长笛演奏家 R. Carlos Nakai 起了极大的宣传和推动作用。1992年 R. Carlos Nakai 获颁亚利桑那州的艺术奖，是第二个印第安人获得这样的荣誉。1994年 R. Carlos Nakai 被亚利桑那州大学授予荣誉博士学位。R. Carlos Nakai 出版了很多专辑，其中包括 Canyon Records label 发行的18张专辑。单是计算他在 Canyon Records label 发行的专辑，在全球的销量就超过了两百多万张，令人赞叹不已。在他没有录制唱片、创作或研究工作时，一年中的大部分时间都用在美洲、加拿大、欧洲和日本的旅行上，演出并宣传印第安人的文化和哲学。他是一位令世人尊敬的音乐家和思想家。


当地印地安人吹的一种笛子，是用老鹰的翅膀的骨头做的一种笛子。 叫“鹰笛”  
Eagle bone whistle：

The Eagle Bone Whistle, a sacred religious musical instrument used by Native Americans, is made from the long wing bones of both the American Bald Eagle, and the American Golden Eagle for Native American religious ceremonies. Eagle bone whistles are considered extremely powerful spiritual objects by American Indians.

The peyote ceremonies of the Native American Church use eagle bone whistles to call the spirits of the ancestors and the grandfathers to attend peyote ceremonies. Many Native Americans believe that music created from the bones of eagles can be heard in the spirit world. The Sun Dance performed by the Ute and Lakota also employ eagle bone whistles, which are played continuously by the dancers during the sacred Dance rituals.

The whistle is made by removing the fat and marrow from the long wing bone of a Bald or Golden Eagle. The bone is then boiled until all of the fat and tissue is removed, and sanded. The large flaring end of the bone is opened and the bone is cut to approximately 7 inches (17 cm) in length. A concave lens-shaped opening is then filed or bored out of the bone to form the whistle opening. Pitch from a pinyon pine tree is then placed into the opening and the bone is heated until the pitch is softened. The pinyon pine pitch is then shaped into a ridge and allowed to harden.

The marrow of eagle wing bones is often given to a Native American Healer and made into an eye salve. Recent studies indicate that Eagle bone marrow contains a potent androgen that stimulates regeneration of retinal tissue in the human eye. Native Americans have employed eagle marrow and eagle fat as a treatment for poor vision and eye disorders for thousands of years.

Eagle bone whistles produce a series of high pitched notes which are reminiscent of the cry of an eagle. By varying the airflow and pressure, a wide variety of notes can be produced. These whistles are only used in ceremonies to call the spirits. Eagle bone whistles are often worn with red mescal bean necklaces during peyote ceremonies. They are also carried in buffalo hide pouches specifically made for this purpose.

日本著名笛子演奏家-藤舍名生先生。藤舍名生(MEISHIO TOSHIA)　　

众所周知在日本有很多传统的艺术，像歌舞伎、能乐、雅乐都是相当有代表性的传统艺术。在这些传统艺术中，最缺少不了的一种乐器就应该算是笛子了。笛子分横笛和竖笛，日本传统艺术中的笛子大致分几种；雅乐中使用的笛子叫“龙笛”、“高丽笛”、“神乐笛”，能乐中使用的笛子叫“能管”，歌舞伎中则使用“筱笛”。在日本横笛比较多，在雅乐中除了“神乐笛”之外，其它的都是从中国传来的，“能管”和“筱笛”是日本独创的。在日本大部分笛子都是一种叫“煤竹”的竹子制作的，据说这种竹子要在农家的屋顶经过50年或100年的熏制才能表现出最好的效果。俗话说：‘好马还要有伯乐来识’，这位“伯乐”就是日本著名笛子演奏家-藤舍名生先生。61岁的藤舍先生从幼年时代开始接受父亲的传教，16岁考入NHK日本古乐技能者养成会，开始了他的演奏生涯。在45年的从艺中，藤舍先生苦学身教，他的音乐像山和水，像天濑之声，他的音乐表现了大自然的雄伟壮观，令人心潮澎湃。藤舍先生曾多次荣获日本文部大臣(相当于中国的教育部部长)颁发的各种艺术功劳奖，且在日本国内及海外进行过多次访问演出。他曾经在美国、意大利、瑞士、瑞典、捷克、德国和中国的昆明进行过表演，嬴得了不同文化的共同感动。9月22日，让我们怀着这种心情，期待着藤舍大师的到来，届时您会被他的笛声带向那片“天外天”。

长见识了，好好学习之...

横山胜也 （1934 - 2010）：

横山胜也是琴古流尺八大师，由于几乎是武满彻钦定的尺八演奏家，他在西方名气很大。当然，绝不是因为武满彻才有了横山胜也他完全可以称得上是一代宗师。这里的演奏由他和萨摩琵琶大师鹤田锦史共同完成,几乎全部是古典名曲。
Katsuya Yokoyama (横山勝也, Yokoyama Katsuya?, born in Shizuoka, Japan, 1934 - 21 April 2010) was an internationally renowned player and teacher of the shakuhachi, a traditional vertical bamboo flute of Japan.
Katsuya Yokoyama is one of the greatest masters of the shakuhachi in Japan today. He was born in Shizuoka Prefecture in 1934 and studied Kinko-ryu and Azuma styles of music with his father, Rampo Yokoyama, and grandfather, Koson Yokoyama.
At the age of 25, Yokoyama began to study with Fukuda Rando, founder of the Azuma School and with Watazumido-doso, a legendary Fuke master who sought to synthesize shakuhachi music and spirituality within the context of Zen Buddhism. Guided by these two eminent masters, Yokoyama was able to combine the modernism of Rando with the deeply religious traditional spirit of Watazumido in his training. With this foundation, he came to develop a remarkably powerful and creative style that embodied both ends of the continuum. A true descendant of the Kinko tradition transmitted down through the generations, he also pioneered a revolution in modern music that swept across post-War Japan.
In 1960, Yokoyama completed his studies at the NHK Japanese Traditional Music Training Center and, one year later, formed Shakuhachi San-Jyuso-dan, a trio devoted to furthering new music for the instrument. In 1963, he founded the Nihon Ongaku Shudan (Japanese Music Group) and Shakuhachi Sanbon-kai (Group of Three Shakuhachi ) with Kinko master Aoki Reibo and Tozan master Hozan Yamamoto. This historic group helped to establish a new genre of music for shakuhachi trio.
Yokoyama achieved international attention for his New York City premiere performance in November 1967, of Tōru Takemitsu's composition November Steps, for shakuhachi, biwa, and orchestra, with the New York Philharmonic, under the direction of Seiji Ozawa (with biwa player Tsuruta Kinshi).
Until his death on April 21, 2010, Katsuya Yokoyama was head of the Chikushin-kai Shakuhachi Guild. He has been the recipient of many prestigious awards, amongst them the Geijutsu Sen-sho (Art Award) in 1971, the Geijutsu-sai Yushu-sho (Art Excellence Award) in 1972, the Geijutsu-sai Tai-sho (Art Festival Grand Prize) in 1973 given by the Agency for Cultural Affairs and the Ongaku no Tomo-sha Award in 1991.
In 1988, Yokoyama founded the Kokusai Shakuhachi Kenshu Center (International Shakuhachi Training Center) located in Bisei-cho, Okayama, Japan where he hosted the first International Shakuhachi Festival in 1993. This event precipitated founding of the World Shakuhachi Society and Festival held in Boulder, Colorado in 1998. At this gathering, five of the world's greatest shakuhachi masters, including Yokoyama, performed in a single venue for the first time ever.
In 2002, the Japanese government honored Katsuya Yokoyama for a lifetime of achievement by awarding him the esteemed Shiju Hosho (Purple Ribbon Medal) award.

一张武满彻的~~~

一张三味线的~~~日本传统器乐

请问楼主，夏川里美的歌曲《泪光闪闪》的配乐中有一乐器是不是三味线？

夏川里美 的这首歌没有听过~~~

几张黑胶：


日本传统民谣 （山形县民谣） 现地录音：

日本古代传统歌舞剧 谣曲 ：

网上找的这么一篇文章：
《镇魂诗剧　世界文化遗产－－日本古典戏剧“能”概貌》——王冬兰著

http://www.mansaiclub.com/bbs/read.php?tid-39-page-1.html


黑胶：