朝鮮(xian)族(zu)長鼓起(qi)源于(yu)印(yin)度細腰鼓,又名“杖鼓”,歷史曾流行于(yu)中原地區。朝鮮(xian)族(zu)民間樂(le)器(qi)(qi)。歷史悠久、構造獨特、音色柔和(he),常用于(yu)歌、舞伴(ban)奏和(he)器(qi)(qi)樂(le)合奏。
朝(chao)鮮族(zu)長鼓起源于印度的細腰(yao)鼓。公(gong)元4世紀(ji)時,細腰(yao)鼓通過絲綢(chou)之(zhi)路傳(chuan)入我國中原,而后又東(dong)傳(chuan)朝(chao)鮮。
長鼓(gu)(gu)(gu)(gu)為古代(dai)細腰(yao)鼓(gu)(gu)(gu)(gu)的(de)變體(ti)。隋唐(tang)時期,我(wo)中(zhong)原稱(cheng)長鼓(gu)(gu)(gu)(gu)為“都(dou)曇鼓(gu)(gu)(gu)(gu)”、“毛員鼓(gu)(gu)(gu)(gu)”和(he)“腰(yao)鼓(gu)(gu)(gu)(gu)”,當時雖未有長鼓(gu)(gu)(gu)(gu)之(zhi)(zhi)名,但實際已用(yong)于宮廷九、十部樂的(de)天竺、龜(gui)茲、西涼、疏勒(le)、高昌和(he)高麗諸樂中(zhong)。宋代(dai)長鼓(gu)(gu)(gu)(gu)以(yi)“杖(zhang)鼓(gu)(gu)(gu)(gu)”之(zhi)(zhi)名載(zai)入史冊。宋代(dai)《樂書》:“杖(zhang)鼓(gu)(gu)(gu)(gu)、腰(yao)鼓(gu)(gu)(gu)(gu)、漢魏用(yong)之(zhi)(zhi)。大者以(yi)瓦,小者以(yi)木類,皆(jie)廣首(shou)纖腹。”沈括《夢溪筆談》:“唐(tang)之(zhi)(zhi)杖(zhang)鼓(gu)(gu)(gu)(gu),本謂之(zhi)(zhi)‘兩杖(zhang)鼓(gu)(gu)(gu)(gu)’,兩頭皆(jie)用(yong)杖(zhang)。今(jin)日杖(zhang)鼓(gu)(gu)(gu)(gu),一頭以(yi)手拊之(zhi)(zhi)”。
隋唐時(shi)期,我中原稱(cheng)長鼓(gu)(gu)為“都曇鼓(gu)(gu)”、“毛員鼓(gu)(gu)”和“腰(yao)鼓(gu)(gu)”,當時(shi)雖未有長鼓(gu)(gu)之名,但實際已(yi)用于(yu)九、十(shi)部(bu)樂的天竺、龜茲、西涼、疏勒(le)、高(gao)昌和高(gao)麗諸(zhu)樂。宋代長鼓(gu)(gu)以“杖(zhang)鼓(gu)(gu)”之名載(zai)入(ru)史冊(ce)。
到了元(yuan)(yuan)代,《元(yuan)(yuan)史·宴樂(le)之器》對杖(zhang)鼓(gu)記載尤詳。《元(yuan)(yuan)史·禮(li)樂(le)志》:“杖(zhang)鼓(gu),制以(yi)木為匡,細腰,以(yi)皮冒之,上施五(wu)彩繡帶,右擊以(yi)杖(zhang),左拍以(yi)手(shou)”。
朝鮮族長(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)為(wei)(wei)兩(liang)面鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu),其(qi)兩(liang)端音高(gao)不(bu)同,女(nv)性長(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)舞(wu)(wu)風格優雅(ya),男性長(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)舞(wu)(wu)活潑瀟(xiao)灑。現代長(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)舞(wu)(wu)有兩(liang)種擊(ji)打(da)法:一(yi)為(wei)(wei)舞(wu)(wu)者用(yong)(yong)(yong)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)鞭(一(yi)尺許(xu)細長(chang)(chang)(chang)的(de)竹鞭)兼用(yong)(yong)(yong)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)槌(chui)(一(yi)端圓粗,長(chang)(chang)(chang)約尺許(xu)的(de)木槌(chui));一(yi)為(wei)(wei)只(zhi)用(yong)(yong)(yong)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)鞭不(bu)用(yong)(yong)(yong)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)槌(chui)。前(qian)者開頭(tou)只(zhi)用(yong)(yong)(yong)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)鞭按(an)慢鞭拍子(zi)邊擊(ji)邊舞(wu)(wu),鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)插在長(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)上(shang),舞(wu)(wu)至高(gao)潮時,方(fang)抽出(chu)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)槌(chui)進行技巧(qiao)表演。后者春持鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)鞭隨樂起舞(wu)(wu)。長(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)的(de)表演,以柔軟(ruan)的(de)扛(kang)手(shou)、伸肩(jian)、鵲雀步等動作為(wei)(wei)主,以肩(jian)挎長(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu),右(you)(you)手(shou)持鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)鞭,邊跳邊敲鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)的(de)形式表演,身(shen)、鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)、神融為(wei)(wei)一(yi)體(ti),高(gao)度協調(diao)統一(yi)。長(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)兩(liang)面具有不(bu)同的(de)音高(gao)。舞(wu)(wu)蹈時,右(you)(you)手(shou)用(yong)(yong)(yong)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)鞭敲打(da)高(gao)音鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)面,左手(shou)拍打(da)低音鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)面。由于音高(gao)不(bu)同,節奏不(bu)同,變(bian)化多(duo)端的(de)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)點和著優美的(de)舞(wu)(wu)姿,令人(ren)賞心悅目(mu)、興奮異常(chang)。長(chang)(chang)(chang)鼓(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)舞(wu)(wu)通常(chang)由慢板起拍,節奏逐漸加快,最后嘎(ga)然停(ting)止。
其舞(wu)(wu)蹈形(xing)式有獨(du)舞(wu)(wu)、雙人舞(wu)(wu)、群舞(wu)(wu)等(deng)多種。建國后,長(chang)鼓舞(wu)(wu)經朝鮮族舞(wu)(wu)蹈家們(men)的精心改編,增添了(le)新(xin)的時代氣息和民族特色(se),使這(zhe)一藝(yi)術(shu)形(xing)式日趨完善。 [4]
長(chang)鼓(gu)(gu)為(wei)朝(chao)鮮民(min)族音樂(le)(le)的(de)主要(yao)打擊樂(le)(le)器。中(zhong)國和(he)朝(chao)鮮的(de)古代(dai)史(shi)料還將長(chang)鼓(gu)(gu)以“細腰(yao)鼓(gu)(gu)”、“杖鼓(gu)(gu)”等稱謂(wei)載入史(shi)冊。長(chang)鼓(gu)(gu)在朝(chao)鮮族音樂(le)(le)和(he)舞(wu)蹈中(zhong)起(qi)重要(yao)作用(yong)。長(chang)鼓(gu)(gu)分為(wei)長(chang)鼓(gu)(gu)、舞(wu)蹈長(chang)鼓(gu)(gu)等幾種(zhong)。形(xing)狀是兩頭粗、中(zhong)間細,左(zuo)(zuo)邊(bian)鼓(gu)(gu)筒直(zhi)徑比右(you)(you)(you)(you)邊(bian)鼓(gu)(gu)筒直(zhi)徑長(chang)1厘米,右(you)(you)(you)(you)邊(bian)鼓(gu)(gu)皮薄,左(zuo)(zuo)邊(bian)鼓(gu)(gu)皮厚。長(chang)鼓(gu)(gu)的(de)右(you)(you)(you)(you)邊(bian)用(yong)一根飾彩(cai)穗的(de)竹條敲,左(zuo)(zuo)邊(bian)用(yong)手(shou),右(you)(you)(you)(you)邊(bian)聲高左(zuo)(zuo)邊(bian)聲低,能敲擊出(chu)豐(feng)富多彩(cai)的(de)節奏。長(chang)鼓(gu)(gu)舞(wu)則脫(tuo)胎于(yu)傳統(tong)的(de)“農(nong)樂(le)(le)舞(wu)”,長(chang)鼓(gu)(gu)作為(wei)民(min)間打擊樂(le)(le)器,在農(nong)樂(le)(le)舞(wu)隊里由長(chang)鼓(gu)(gu)手(shou)擊打,起(qi)伴奏和(he)渲染氣(qi)氛的(de)作用(yong)。當情(qing)緒(xu)高昂時(shi),長(chang)鼓(gu)(gu)手(shou)常(chang)常(chang)隨著(zhu)眾人(ren)一同起(qi)舞(wu),在起(qi)舞(wu)時(shi)側(ce)重于(yu)擊鼓(gu)(gu)的(de)形(xing)體動作,逐步(bu)創作出(chu)挎(kua)跳(tiao)“大(da)蹦(beng)子”等技巧,由此被稱為(wei)“長(chang)鼓(gu)(gu)演戲”。后經歷代(dai)藝人(ren)改進,長(chang)鼓(gu)(gu)舞(wu)在20世(shi)紀初期以獨立的(de)表(biao)演形(xing)式從農(nong)樂(le)(le)舞(wu)里脫(tuo)穎而出(chu)。
近百余年來,杖鼓(gu)(gu)(gu)在(zai)(zai)我(wo)國中(zhong)原(yuan)逐漸消聲匿跡,而在(zai)(zai)朝鮮族人民中(zhong)廣為(wei)(wei)(wei)流傳(chuan),遂改名為(wei)(wei)(wei)長(chang)鼓(gu)(gu)(gu)。長(chang)鼓(gu)(gu)(gu)作為(wei)(wei)(wei)民間(jian)打擊樂器,在(zai)(zai)農樂舞(wu)(wu)(wu)隊里由長(chang)鼓(gu)(gu)(gu)手擊打,起(qi)(qi)伴(ban)奏和渲染(ran)氣氛的(de)作用,當情緒高昂時,長(chang)鼓(gu)(gu)(gu)手常(chang)常(chang)隨著(zhu)眾人一起(qi)(qi)翩翩起(qi)(qi)舞(wu)(wu)(wu),因其身前挎(kua)著(zhu)長(chang)鼓(gu)(gu)(gu),故在(zai)(zai)起(qi)(qi)舞(wu)(wu)(wu)時側重于擊鼓(gu)(gu)(gu)的(de)形體動(dong)作,逐步創(chuang)作出(chu)挎(kua)跳“大蹦子”等技(ji)(ji)巧(qiao),由此(ci)而被稱為(wei)(wei)(wei)“長(chang)鼓(gu)(gu)(gu)演戲”。后經歷代(dai)藝(yi)人創(chuang)造豐富,長(chang)鼓(gu)(gu)(gu)舞(wu)(wu)(wu)便在(zai)(zai)20世紀初(chu)期,以獨(du)立的(de)表演形式從(cong)(cong)農樂舞(wu)(wu)(wu)里脫穎而出(chu)。每逢(feng)佳節(jie)之日,民間(jian)常(chang)出(chu)現跳長(chang)鼓(gu)(gu)(gu)舞(wu)(wu)(wu)者,深受(shou)群(qun)眾歡(huan)迎。延邊歌舞(wu)(wu)(wu)團從(cong)(cong)20世紀50年代(dai)初(chu)開始將長(chang)鼓(gu)(gu)(gu)舞(wu)(wu)(wu)搬上(shang)舞(wu)(wu)(wu)臺,從(cong)(cong)而擴(kuo)大了長(chang)鼓(gu)(gu)(gu)舞(wu)(wu)(wu)的(de)影響,60年代(dai)又在(zai)(zai)獨(du)舞(wu)(wu)(wu)的(de)基礎上(shang),創(chuang)作出(chu)長(chang)鼓(gu)(gu)(gu)的(de)群(qun)舞(wu)(wu)(wu)表演。長(chang)鼓(gu)(gu)(gu)舞(wu)(wu)(wu)不僅鼓(gu)(gu)(gu)技(ji)(ji)驚(jing)人,花樣(yang)翻(fan)新,亦在(zai)(zai)于表達喜悅、歡(huan)快的(de)情緒,以優美的(de)舞(wu)(wu)(wu)姿和嫻熟的(de)鼓(gu)(gu)(gu)技(ji)(ji)給(gei)人美好(hao)的(de)藝(yi)術享受(shou)。