三弦源流新考

ON THE ORIGIN OF THE MUSICAL INSTRUMENT OF "SAN HSIEN"

本文就三弦源于弦鼗的观点提出质疑,另作新论。通过三弦的史料记载和考据三弦应源于蒙古民族所创制的西那嘎,也就是说西那干胡兀日的另外一种变体,由此蒙古人把三弦也叫"西那嘎"或"胡不儿"。它并非源于弦鼗,更不是"盖琵琶本四弦,三弦者,减去琵琶一弦也"的说法。古代蒙古人创制三弦时,也不是简单地把二弦或四弦改为三弦,而是以蒙古人的制作方法、发声原理、美学观点以及声音特点进行了创制。制作材料上遵循自产自制的原理,把琴箱蒙上羊皮,张拉羊肠做琴弦,长颈无品,无论是在蒙古包,还是在马背上操弄极为方便。三弦把蒙古族胡兀日类乐器的四、五度定弦法融为一体,并丰富了胡兀日类乐器的种类。

The study challenges the idea that San Hsien originates from ＂Hsien Tao＂ and offers a new theory for the origin of San Hsien. Through a study of historical documents, it is concluded that San Hsien originates from a Mongolian music instrument ＂Xi-na-ga＂. When ancient Mongolians made San Hsien, they made use of Mongolian production techniques, vocalism principles, aesthetic views and voice features and chose self-made materials like sheep skin or guts so that it was easy to perform whether on the horseback or in the Mongolian yurts. San Hsien integrates the features of Mongolian musical instruments and enriches their variety.