Pipa
![]() A pipa from the late Ming dynasty | |
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The pipa, pípá, or p'i-p'a (Chinese:
The pipa is one of the most popular Chinese instruments and has been played for almost two thousand years in China. Several related instruments are derived from the pipa, including the Japanese biwa and Korean bipa in East Asia, and the Vietnamese đàn tỳ bà in Southeast Asia. The Korean instrument is the only one of the three that is no longer widely used.
History
[edit]There are some confusions and disagreements about the origin of pipa. This may be due to the fact that the word pipa was used in ancient texts to describe a variety of plucked chordophones of the period from the Qin to the Tang dynasty, including the long-necked spiked lute and the short-necked lute, as well as the differing accounts given in these ancient texts. Traditional Chinese narrative prefers the story of the Han Chinese Princess Liu Xijun sent to marry a barbarian Wusun king during the Han dynasty, with the pipa being invented so she could play music on horseback to soothe her longings.[1][2] Modern researchers such as Laurence Picken, Shigeo Kishibe, and John Myers suggested a non-Chinese origin.[3][4][5]
The earliest mention of pipa in Chinese texts appeared late in the Han dynasty around the 2nd century AD.[6][7] According to Liu Xi's Eastern Han dynasty Dictionary of Names, the word pipa may have an onomatopoeic origin (the word being similar to the sounds the instrument makes),[6] although modern scholarship suggests a possible derivation from the Persian word "barbat", the two theories however are not necessarily mutually exclusive.[8][9] Liu Xi also stated that the instrument called pipa, though written differently (
![](https://upload.wikimedia.org/wikipedia/commons/thumb/2/24/Traditional_Chinese_instrument_players_-_Yulin_Cave_25.jpg/220px-Traditional_Chinese_instrument_players_-_Yulin_Cave_25.jpg)
The pear-shaped pipa is likely to have been introduced to China from Central Asia, Gandhara, and/or India.[2] As people traveled along the Silk Road, the "oval" or oval-shaped pipa traveled through Central Asia and was introduced to China, where it became known as the "pipa."[17] Pear-shaped lutes have been depicted in Kusana sculptures from the 1st century AD.[18][19] The pear-shaped pipa may have been introduced during the Han dynasty and was referred to as Han pipa. However, depictions of the pear-shaped pipas in China only appeared after the Han dynasty during the Jin dynasty in the late 4th to early 5th century.[20] Pipa acquired a number of Chinese symbolisms during the Han dynasty - the instrument length of three feet five inches represents the three realms (heaven, earth, and man) and the five elements, while the four strings represent the four seasons.[7]
Depictions of the pear-shaped pipas appeared in abundance from the Southern and Northern dynasties onwards, and pipas from this time to the Tang dynasty were given various names, such as Hu pipa (
![](https://upload.wikimedia.org/wikipedia/commons/thumb/c/cc/Female_figure_as_Venus%2C_T%27ang_dynasty.jpg/220px-Female_figure_as_Venus%2C_T%27ang_dynasty.jpg)
The pipa reached a height of popularity during the Tang dynasty, and was a principal musical instrument in the imperial court. It may be played as a solo instrument or as part of the imperial orchestra for use in productions such as daqu (
In the subsequent periods, the number of frets gradually increased,[28] from around 10 to 14 or 16 during the Qing dynasty, then to 19, 24, 29, and 30 in the 20th century. The 4 wedge-shaped frets on the neck became 6 during the 20th century. The 14- or 16-fret pipa had frets arranged in approximately equivalent to the western tone and semitone, starting at the nut, the intervals were T-S-S-S-T-S-S-S-T-T-3/4-3/4-T-T-3/4-3/4, (some frets produced a 3/4 tone or "neutral tone"). In the 1920s and 1930s, the number of frets was increased to 24, based on the 12 tone equal temperament scale, with all the intervals being semitones.[29] The traditional 16-fret pipa became less common, although it is still used in some regional styles such as the pipa in the southern genre of nanguan/nanyin. The horizontal playing position became the vertical (or near-vertical) position by the Qing dynasty, although in some regional genres such as nanguan the pipa is still held guitar fashion. During the 1950s, the use of metal strings in place of the traditional silk ones also resulted in a change in the sound of the pipa which became brighter and stronger.[2]
In Chinese literature
[edit]Early literary tradition in China, for example in a 3rd-century description by Fu Xuan, Ode to Pipa,[1][30] associates the Han pipa with the northern frontier, Wang Zhaojun and other princesses who were married to nomad rulers of the Wusun and Xiongnu peoples in what is now Mongolia, northern Xinjiang and Kazakhstan.[2][31] Wang Zhaojun in particular is frequently referenced with pipa in later literary works and lyrics, for example Ma Zhiyuan's play Autumn in the Palace of Han (
There are many references to pipa in Tang literary works, for example, in A Music Conservatory Miscellany Duan Anjie related many anecdotes associated with pipa.[33] The pipa is mentioned frequently in the Tang dynasty poetry, where it is often praised for its expressiveness, refinement and delicacy of tone, with poems dedicated to well-known players describing their performances.[34][35][36] A famous poem by Bai Juyi, "Pipa xing" (
大 絃嘈嘈如急 雨 小 絃切切 如私語 - 嘈嘈
切切 錯雜 彈 大 珠 小 珠 落玉盤
Thick strings clatter like splattering rain,
Fine strings murmur like whispered words,
Clattering and murmuring, meshing jumbled sounds,
Like pearls, big and small, falling on a platter of jade.
The encounter also inspired a poem by Yuan Zhen, Song of Pipa (
- 銜花
金 鳳 當 承 撥 轉 腕 攏弦促揮抹花 翻 鳳 嘯天上 來 - 裴回
滿 殿 飛 春雪
On the plectrum, figure of a golden phoenix with flowers in its beak,
With turned wrist, he gathered the strings to pluck and strum faster.
The flowers fluttered, and from Heaven the phoenix trilled,
Lingering, filling the palace hall, spring snow flew.- 銜花
During the Song dynasty, many of the literati and poets wrote ci verses, a form of poetry meant to be sung and accompanied by instruments such as pipa. They included Ouyang Xiu, Wang Anshi, and Su Shi. During the Yuan dynasty, the playwright Gao Ming wrote a play for nanxi opera called Pipa ji (
Playing and performance
[edit]![](https://upload.wikimedia.org/wikipedia/commons/thumb/4/47/Pipa_MET_DP218070.jpg/180px-Pipa_MET_DP218070.jpg)
The name "pipa" is made up of two Chinese syllables, "pí" (琵) and "pá" (琶). These, according to the Han dynasty text by Liu Xi, refer to the way the instrument is played – "pí" is to strike outward with the right hand, and "pá" is to pluck inward towards the palm of the hand.[6] The strings were played using a large plectrum in the Tang dynasty, a technique still used now for the Japanese biwa.[40] It has however been suggested that the long plectrum depicted in ancient paintings may have been used as a friction stick like a bow.[41] The plectrum has now been largely replaced by the fingernails of the right hand. The most basic technique, tantiao (
![](https://upload.wikimedia.org/wikipedia/commons/thumb/6/66/Paintings_on_north_wall_of_Xu_Xianxiu_Tomb.jpg/300px-Paintings_on_north_wall_of_Xu_Xianxiu_Tomb.jpg)
The left hand techniques are important for the expressiveness of pipa music. Techniques that produce vibrato, portamento, glissando, pizzicato, harmonics or artificial harmonics found in violin or guitar are also found in pipa. String-bending for example may be used to produce a glissando or portamento. Note however that the frets on all Chinese lutes are high so that the fingers and strings never touch the fingerboard in between the frets, this is different from many Western fretted instruments and allows for dramatic vibrato and other pitch changing effects.
In addition, there are a number of techniques that produce sound effects rather than musical notes, for example, striking the board of the pipa for a percussive sound, or strings-twisting while playing that produces a cymbal-like effect.
The strings are usually tuned to A2 D3 E3 A3 , although there are various other ways of tuning. Since the revolutions in Chinese instrument-making during the 20th century, the softer twisted silk strings of earlier times have been exchanged for nylon-wound steel strings, which are far too strong for human fingernails, so false nails are now used, constructed of plastic or tortoise-shell, and affixed to the fingertips with the player's choice of elastic tape. However, false nails made of horn existed as early as the Ming period when finger-picking became the popular technique for playing pipa.[26]
The pipa is held in a vertical or near-vertical position during performance, although in the early periods the instrument was held in the horizontal position or near-horizontal with the neck pointing slightly downwards, or upside down.[18][14] Starting about the 10th century, players began to hold the instrument "more upright", as the fingernail style became more important.[42] Through time, the neck was raised and by the Qing dynasty the instrument was mostly played upright.
Repertoire
[edit]Pipa has been played solo, or as part of a large ensemble or small group since the early times. Few pieces for pipa survived from the early periods, some, however, are preserved in Japan as part of togaku (Tang music) tradition. In the early 20th century, twenty-five pieces were found amongst 10th-century manuscripts in the Mogao caves near Dunhuang, most of these pieces however may have originated from the Tang dynasty. The scores were written in tablature form with no information on tuning given, there are therefore uncertainties in the reconstruction of the music as well as deciphering other symbols in the score.[43] Three Ming dynasty pieces were discovered in the High River Flows East (
The pipa pieces in the common repertoire can be categorized as wen (
Famous solo pieces now performed include:
Traditional Chinese | Simplified Chinese | Pinyin | English (translation) |
---|---|---|---|
Shí Mìan Maífú | Ambushed from Ten Sides | ||
Xīyáng Xīao Gǔ/Chūnjiāng Huā Yuèyè | Flute and Drum at Sunset / Flowery Moonlit River in Spring | ||
阳春 |
Yángchūn Baíxuě | White Snow in Spring Sunlight | |
龙船 | Lóngchuán | Dragon Boat | |
Yìzú Wúqǔ | Dance of the Yi People | ||
Dàlàng Táo Shā | Big Waves Crashing on Sand | ||
Zhàojūn Chū Saì | Zhaojun Outside the Frontier | ||
霸王 |
霸王 |
Bàwáng Xiè Jiǎ | The Warlord Takes Off His Armour |
Gāoshān Liúshuǐ | High Mountains Flowing Water | ||
Yuè'er Gāo | Moon on High |
Most of the above are traditional compositions dating to the Qing dynasty or early 20th century, new pieces however are constantly being composed, and most of them follow a more Western structure. Examples of popular modern works composed after the 1950s are "Dance of the Yi People" and "Heroic Little Sisters of the Grassland" (
Schools
[edit]There are a number of different traditions with different styles of playing pipa in various regions of China, some of which then developed into schools. In the narrative traditions where the pipa is used as an accompaniment to narrative singing, there are the Suzhou tanci (
There were originally two major schools of pipa during the Qing dynasty—the Northern (Zhili,
- Wuxi school (
無 錫 派 ) – associated with the Hua Collection by Hua Qiuping, who studied with Wang Junxi (王 君 錫 ) of the Northern school and Chen Mufu (陳 牧夫 ) of the Southern school, and may be considered a synthesis of these two schools of the Qing dynasty.[45] As the first published collection, the Hua Collection had considerable influence on later pipa players. - Pudong school (
浦東 派 ) – associated with the Ju Collection (鞠 氏 譜 ) which is based on an 18th-century handwritten manuscript, Xianxu Youyin (閑敘幽 音 ), by Ju Shilin. - Pinghu school (
平 湖 派 ) – associated with the Li Collection (李 氏 譜 ) first published in 1895; it was compiled by Li Fangyuan who came from a family of many generations of pipa players.[52] - Chongming school (
崇 明 派 ) – associated with Old Melodies of Yingzhou (瀛洲古 調 ) compiled by Shen Zhaozhou (沈肇州 , 1859–1930) in 1916. - Shanghai or Wang school (
汪 派 ) – named after Wang Yuting (汪 昱庭) who created this style of playing. It may be considered a synthesis of the other four schools especially the Pudong and Pinghu schools. Wang did not publish his notation book in his lifetime, although handwritten copies were passed on to his students.
These schools of the solo tradition emerged by students learning playing the pipa from a master, and each school has its own style, performance aesthetics, notation system, and may differ in their playing techniques.[53][54] Different schools have different repertoire in their music collection, and even though these schools share many of the same pieces in their repertoire, a same piece of music from the different schools may differ in their content. For example, a piece like "The Warlord Takes off His Armour" is made up of many sections, some of them metered and some with free meter, and greater freedom in interpretation is possible in the free meter sections. Different schools however can have sections added or removed, and may differ in the number of sections with free meter.[53] The music collections from the 19th century also used the gongche notation which provides only a skeletal melody and approximate rhythms sometimes with the occasional playing instructions given (such as tremolo or string-bending), and how this basic framework can become fully fleshed out during a performance may only be learnt by the students from the master. The same piece of music can therefore differ significantly when performed by students of different schools, with striking differences in interpretation, phrasing, tempo, dynamics, playing techniques, and ornamentations.
In more recent times, many pipa players, especially the younger ones, no longer identify themselves with any specific school. Modern notation systems, new compositions as well as recordings are now widely available and it is no longer crucial for a pipa players to learn from the master of any particular school to know how to play a score.
Performers
[edit]![](https://upload.wikimedia.org/wikipedia/commons/thumb/0/06/Sui_dynasty_pipa_player_.jpg/170px-Sui_dynasty_pipa_player_.jpg)
Historical
[edit]Pipa is commonly associated with Princess Liu Xijun and Wang Zhaojun of the Han dynasty, although the form of pipa they played in that period is unlikely to be pear-shaped as they are now usually depicted. Other early known players of pipa include General Xie Shang from the Jin dynasty who was described to have performed it with his leg raised.[55] The introduction of pipa from Central Asia also brought with it virtuoso performers from that region, for example Sujiva (
Texts from Tang dynasty mentioned many renowned pipa players such as He Huaizhi (
During the Song dynasty, players mentioned in literary texts include Du Bin (
During the Qing dynasty, apart from those of the various schools previously mentioned, there was Chen Zijing (
Modern era
[edit]In the 20th century, two of the most prominent pipa players were Sun Yude (孙裕
Lin Shicheng (
Other prominent students of Lin Shicheng at the Central Conservatory of Music in Beijing include Liu Guilian (刘桂莲, born 1961), Gao Hong and Wu Man. Wu Man is probably the best known pipa player internationally, received the first-ever master's degree in pipa and won China's first National Academic Competition for Chinese Instruments. She lives in San Diego, California and works extensively with Chinese, cross-cultural, new music, and jazz groups. Shanghai-born Liu Guilian graduated from the Central Conservatory of Music and became the director of the Shanghai Pipa Society, and a member of the Chinese Musicians Association and Chinese National Orchestral Society, before immigrating to Canada. She now performs with Red Chamber and the Vancouver Chinese Music Ensemble. Gao Hong graduated from the Central Conservatory of Music and was the first to do a joint tour with Lin Shicheng in North America. They recorded the critically acclaimed CD "Eagle Seizing Swan" together.
Noted contemporary pipa players who work internationally include Min Xiao-Fen, Yang Jin(杨瑾), Zhou Yi, Qiu Xia He, Liu Fang, Cheng Yu, Jie Ma, Gao Hong, Yang Jing(楊靜), Yang Wei (杨惟),[66] Guan Yadong (
Use in contemporary classical music
[edit]![](https://upload.wikimedia.org/wikipedia/commons/thumb/e/e5/Northeast_Normal_University_band_-_Pipa.jpg/220px-Northeast_Normal_University_band_-_Pipa.jpg)
In the late 20th century, largely through the efforts of Wu Man (in USA), Min Xiao-Fen (in USA), composer Yang Jing (in Europe) and other performers, Chinese and Western contemporary composers began to create new works for the pipa (both solo and in combination with chamber ensembles and orchestra). Most prominent among these are Minoru Miki, Thüring Bräm, YANG Jing, Terry Riley, Donald Reid Womack, Philip Glass, Lou Harrison, Tan Dun, Bright Sheng, Chen Yi, Zhou Long, Bun-Ching Lam, and Carl Stone.
Cheng Yu researched the old Tang dynasty five-stringed pipa in the early 2000s and developed a modern version of it for contemporary use.[69] It is very much the same as the modern pipa in construction save for being a bit wider to allow for the extra string and the reintroduction of the soundholes at the front. It has not caught on in China but in Korea (where she also did some of her research) the bipa was revived since then and the current versions are based on Chinese pipa, including one with five-strings. The 5 String Pipa is tuned like a Standard Pipa with the addition of an Extra Bass String tuned to an E2 (Same as the Guitar) which broadens the range (Tuning is E2, A2, D3, E3, A3). Jiaju Shen from The Either also plays an Electric 5 String Pipa/Guitar hybrid that has the Hardware from an Electric Guitar combined with the Pipa, built by an instrument maker named Tim Sway called "Electric Pipa 2.0".
Use in other genres
[edit]The pipa has also been used in rock music; the California-based band Incubus featured one, borrowed from guitarist Steve Vai, in their 2001 song "Aqueous Transmission," as played by the group's guitarist, Mike Einziger.[70] The Shanghai progressive/folk-rock band Cold Fairyland, which was formed in 2001, also use pipa (played by Lin Di), sometimes multi-tracking it in their recordings. Australian dark rock band The Eternal use the pipa in their song "Blood" as played by singer/guitarist Mark Kelson on their album Kartika. The artist Yang Jing plays pipa with a variety of groups.[71] The instrument is also played by musician Min Xiaofen in "I See Who You Are", a song from Björk's album Volta. Western performers of pipa include French musician Djang San, who integrated jazz and rock concepts to the instrument such as power chords and walking bass.[72]
Electric pipa
[edit]![](https://upload.wikimedia.org/wikipedia/en/thumb/e/e5/Pipa_B-Band_pick-up.jpg/220px-Pipa_B-Band_pick-up.jpg)
The electric pipa was first developed in the late 20th century by adding electric guitar–style magnetic pickups to a regular acoustic pipa, allowing the instrument to be amplified through an instrument amplifier or PA system.
A number of Western pipa players have experimented with amplified pipa. Brian Grimm placed the contact mic pickup on the face of the pipa and wedged under the bridge so he is able to plug into pedalboards, live computer performance rigs, and direct input (DI) to an audio interface for studio tracking.[73][self-published source] In 2014, French zhongruan player and composer Djang San, created his own electric pipa and recorded an experimental album that puts the electric pipa at the center of music.[74] He was also the first musician to add a strap to the instrument, as he did for the zhongruan, allowing him to play the pipa and the zhongruan like a guitar.[citation needed]
![](https://upload.wikimedia.org/wikipedia/commons/thumb/0/09/Ds_strawberry.jpg/170px-Ds_strawberry.jpg)
In 2014, an industrial designer residing in the United States Xi Zheng (郑玺) designed and crafted an electric pipa – "E-pa" in New York. In 2015, pipa player Jiaju Shen (沈嘉琚) released a mini album composed and produced by Li Zong (
Gallery
[edit]-
Sandstone carving, showing the typical way a pipa was held when played with plectrum in the early period. Northern Wei dynasty (386–534 AD).
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Painted panel of the sarcophagus of Yü Hung, depicts one of the Persian or Sogdian figures playing pipa. 592 AD, Sui dynasty.
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Modern pipa player, with the pipa held in near upright position
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A pipa player playing with the pipa behind his back. Dunhuang, Mogao Caves.
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An early depiction of pipa player in a group of musicians. From the Dingjiazha Tomb No. 5, period of the Northern Wei (384-441 A.D.)
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A Song dynasty fresco depicts a female pipa player among a group of musicians
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Group of female musician from the Five Dynasties and Ten Kingdoms period (907-960 AD)
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A mural from a Yuan dynasty tomb found in Hengshan County, Shaanxi, showing a man playing the pipa
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A Chinese woman playing a pipa, 1870
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A group of Qing dynasty musicians from Fuzhou
See also
[edit]References
[edit]- ^ a b Song Shu 《
宋 書 ·樂 志 一 》 Book of Song quoting earlier work by Fu Xuan (傅 玄 ), Ode to Pipa (琵琶 賦 ). Original text:琵琶 ,傅 玄 《琵琶 賦 》曰:漢 遣 烏 孫 公主 嫁 昆 彌 ,念 其行路 思慕 ,故 使 工 人 裁 箏 、築 ,為 馬 上 之 樂 。欲 從 方 俗語 ,故 名 曰琵琶 ,取 其易傳 於外國 也。 Translation: Pipa – Fu Xuan's "Ode to Pipa" says: "The Han Emperor sent the Wusun princess to marry Kunmi, and being mindful of her thoughts and longings on her journey, instructed craftsmen to modify the Chinese zither Zheng and zhu to make an instrument tailored for playing on horseback. Therefore the common use of the old term pipa came about because it was transmitted to a foreign country." (Note that this passage contains a number of assertions whose veracity has been questioned by scholars.) - ^ a b c d Millward, James A. (10 June 2011). "The pipa: How a barbarian lute became a national symbol". Danwei. Archived from the original on 13 June 2011.
- ^ Picken 1955, p. 40.
- ^ Myers 1992, p. 5.
- ^ Shigeo Kishibe (1940). "The Origin of the Pipa". Transactions of the Asiatic Society of Japan. 19: 269–304.
- ^ a b c d Chinese Text Project – 《
釋 名 ·釋 樂器 》 Shiming by Liu Xi (劉 熙)]. Original text:枇杷 ,本 出 於胡中 ,馬上 所 鼓 也。推手前 曰枇,引手 卻曰杷。象 其鼓時 ,因 以為名 也。 Translation: Pipa, originated from amongst the Hu people, who played the instrument on horseback. Striking outward with the hand is called "pi", plucking inward is called "pa", sounds like when it is played, hence the name. (Note that this ancient way of writing pipa (枇杷 ) also means "loquat".) - ^ a b c
應 劭 -《風俗 通義 ·聲音 》 Fengsu Tongyi (Common Meanings in Customs) by Ying Shao. Original text: 批把: 謹按: 此近世樂 家 所作 ,不知 誰 也。以手批把,因 以為名 。長 三 尺 五 寸 ,法 天地人 與 五 行 ,四 弦 象 四 時 。 Translation: Pipa, made by recent musicians, but maker unknown. Played "pi" and "pa" with the hand, it was thus named. Length of three feet five inches represents the Heaven, Earth, and Man, and the five elements, and the four strings represent the four seasons. (Note that this length of three feet five inches is equivalent to today's length of approximately two feet and seven inches or 0.8 meter.) - ^ Myers 1992, pp. 10–11.
- ^ "Avaye Shayda - Kishibe's diffusionism theory on the Iranian Barbat and Chino-Japanese Pi' Pa'". Archived from the original on 12 September 2012. Retrieved 20 April 2021.
- ^ a b 《
琵琶 錄 》 Records of Pipa by Duan Anjie (段 安 節 )] citing Du Zhi of Jin dynasty. Original text:樂 錄 雲 ,琵琶 本 出 於弦鼗。而杜摯以為 秦 之 末世 ,苦 於長城 之 役 。百姓弦鼗而鼓之 Translation: According to Yuelu, pipa originated from xiantao. Du Zhi thought that towards the end of Qin dynasty, people who suffered as forced labourers on the Great Wall, played it using strings on a drum with handle. (Note that for the word xiantao, xian means string, tao means pellet drum, one common form of this drum is a flat round drum with a handle, a form that has some resemblance to Ruan.) - ^ 《
舊 唐 書 ·音樂 二 》 Jiu Tangshu Old Book of Tang. Original text:琵琶 ,四 弦 ,漢 樂 也。初 ,秦 長城 之 役 ,有 鞀而鼓 之 者 。 Translation: Pipa, four strings, comes from Han dynasty music. In the beginning, forced labourers on the Qin dynasty's Great Wall played it using a drum with handle. - ^ "The music of pipa". Archived from the original on 2012-04-25. Retrieved 2011-10-21.
- ^
杜 佑 《通 典 》 Tongdian by Du You. Original text: 阮咸,亦 秦 琵琶 也,而項長 過 於今制 ,列 十 有 三 柱 。武 太 后 時 ,蜀 人 蒯朗於古墓 中 得 之 ,晉 竹林 七賢圖阮咸所彈與此類同,因 謂 之 阮咸。 Translation: Ruan Xian, also called Qin pipa, although its neck was longer than today's instrument. It has 13 frets. During Empress Wu period, Kuailang from Sichuan found one in an ancient tomb. Ruan Xian of The Seven Sages of the Bamboo Grove from the Jin dynasty was pictured playing this same kind of instrument, it was therefore named after Ruan Xian. - ^ a b 《
舊 唐 書 ·音樂 二 》 Jiu Tangshu Old Book of Tang. Original text:今 《清 樂 》奏 琵琶 ,俗 謂 之 「秦 漢子 」,圓 體 修 頸而小 ,疑 是 弦 鞀之遺制 。其他皆 充 上 銳 下 ,曲 項 ,形 制 稍 大 ,疑 此是漢 制 。兼 似 兩 制 者 ,謂 之 「秦 漢 」,蓋 謂 通用 秦 、漢 之 法 。 Translation: Today's "Qingyue" performance pipa, commonly called the Qinhanzi, has a round body with a small neck, and is suspected to be descended from Xiantao. The others are all shaped full on top and pointed at the bottom, neck bent, rather large, and suspected to be of Han dynasty origin. Being composite of two different constructions, it's called "Qinhan", as it is thought to use both Qin and Han methods. (Note that the description of the pear-shaped pipa as being "full on top and pointed at the bottom", an orientation that is inverted compared to modern instrument, and refers to the way pipa was often held in ancient times). - ^ John Myers (1992). "Chapter 1: A General history of the Pipa". The way of the pipa: structure and imagery in Chinese lute music. Kent State University Press. p. 10. ISBN 0-87338-455-5.
- ^
杜 佑 《通 典 》 Tongdian by Du You citing Fu Xuan of Jin dynasty. Original text:傅 玄 云 :「體 圓 柄 直 ,柱 有 十 二 。」 Translation: Fu Xuan said: "The body is round and the handle straight, and has twelve frets." - ^ Silk Roads Programme. "Cultural Selection: The Evolution in Forms of Lutes and other Stringed Instruments along the Silk Roads". UNESCO. UNESCO Youth Eyes on the Silk Roads - Bahram Bayat. Retrieved 7 May 2024.
- ^ a b Picken 1955, pp. 32–42.
- ^ "Bracket with two musicians 100s, Pakistan, Gandhara, probably Butkara in Swat, Kushan Period (1st century-320)". The Cleveland Museum of Art. Retrieved March 25, 2015.
- ^ Albert E. Dien (2007). Six Dynasties Civilization. Yale University Press. pp. 342–348. ISBN 978-0-300-07404-8.
- ^ Myers 1992, p. 8.
- ^ a b c The Concise Garland Encyclopedia of World Music, Volume 2. Routledge. 23 October 2008. pp. 1104–1105. ISBN 978-0415994040.
- ^ See also The Golden Peaches of Samarkand: A Study of T'ang Exotics, by Edward H. Schafer; University of California Press, 1963.
- ^ "Diamond Gate". Jogye Order of Korean Buddhism. 2015. Retrieved 5 July 2023.
- ^ "Cheng Yu : 5-string pipa". Ukchinesemusic.com. Retrieved 20 April 2021.
- ^ a b c d James A. Millward (June 2012). "Chordophone Culture in Two Early Modern Societies: "A Pipa-Vihuela" Duet". Journal of World History. 23 (2): 237–278. doi:10.1353/jwh.2012.0034. JSTOR 23320149. S2CID 145544440.
- ^ a b
杜 佑 《通 典 》 Tongdian by Du You Original text:舊 彈 琵琶 ,皆 用木 撥 彈 之 ,大 唐 貞 觀 中 始 有 手 彈 之 法 ,今 所謂 搊琵琶 者 是也 。《風俗 通 》所謂 以手琵琶 之 ,知 乃非用 撥 之 義 ,豈 上代 固有 搊之者 ?手 彈 法 ,近代 已 廢 ,自 裴洛兒 始 為之 。 Translation: The olden ways of playing pipa all used a wooden plectrum for playing. During the reign of the Tang dynasty's Emperor Taizong, there began the use of a finger-playing technique, which is what's called plucked pipa today. What's referred to in Common Meanings in Customs as playing pipa by hand is thus understood to be played without plectrum, but how are we sure that there were those who played by plucking in this early period? The use of this technique has fallen away in recent times, but it was started by Pei Luoer. (Note that Pei Luoer is also known as Pei Shenfu (裴神符 )). - ^ "
琵琶 小知 识". Sohu. - ^ Lui, Tsun-Yuen; Wu, Ben (2001). "Pipa". Grove Music Online. doi:10.1093/gmo/9781561592630.article.45149.
- ^
杜 佑 《通 典 》 Tongdian by Du You. A longer quote of Fu Xuan here. - ^ a b c Stephen H. West; Wilt L. Idema, eds. (2010). Monks, Bandits, Lovers, and Immortals. Hackett Publishing Company. p. 158. ISBN 9781603844338.
- ^ Ping Wang; Nicholas Morrow Williams, eds. (5 May 2015). Southern Identity and Southern Estrangement in Medieval Chinese Poetry. Hong Kong University Press. pp. 84–86. ISBN 978-9888139262.
- ^ a b "
樂 府 雜錄 - 维基文 库,自由 的 图书馆". Zh.wikisource.org. Retrieved 20 April 2021. - ^
劉 月 珠 (April 2007).唐人 音樂 詩 研究 : 以箜篌 琵琶 笛 笳為主 .秀 威 出版 . pp. 120–134. ISBN 9789866909412. - ^ a b c
李 紳 《悲善才 》 Lament for Shancai by Li Shen. The name Shancai is also used to mean virtuoso or maestro in the Tang dynasty. - ^ a b
元 稹 《琵琶 歌 》 Archived 2012-04-26 at the Wayback Machine Pipa Song by Yuan Zhen. - ^
琵琶 行 The "Pipa Song" by Bai Juyi, translation here - ^ Faye Chunfang Fei, ed. (2002). Chinese Theories of Theater and Performance from Confucius to the Present. University of Michigan Press. p. 41. ISBN 978-0472089239.
- ^ Jin Fu (2012). Chinese Theatre (3rd ed.). Cambridge University Press. p. 447. ISBN 978-0521186667.
- ^ "Pipa - A Chinese lute or guitar, its brief history, photos and music samples". Philmultic.com. Retrieved 20 April 2021.
- ^ Myers 1992, p. 14.
- ^ "Pipa (琶) late 16th–early 17th century". Metropolitan Museum of Art.
- ^ A report on Chinese research into the Dunhuang music manuscripts Chen Yingshi, Musica Asiatica, 1991 ISBN 0-521-39050-8
- ^ Xiansuo Shisan Tao (
弦 索 十 三 套, later incorporated into Complete String Music弦 索 俻套) - ^ a b This was first published as Nanbei Erpai Miben Pipapu Zhenzhuan (
南北 二派祕本琵琶譜真傳) - ^ John Myers (1992). The way of the pipa: structure and imagery in Chinese lute music. Kent State University Press. ISBN 0-87338-455-5.
- ^ Luanjing Zayong 《灤京
雜詠 》[permanent dead link] by Yang Yunfu (楊允孚 ) Original text:為 愛 琵琶 調 有情 ,月 髙未放 酒杯 停 ,新 腔翻得 凉州曲彈 出 天 鵝避海 青海 。 《海 青 挐天鵝》新 聲 也。 This piece is however listed as "Eagle Seizing a Swan" (海 青 挐天鵝) here. - ^ John Myers (1992). "Chapter 3 – Musical structure in the Hua Collection". The way of the pipa: structure and imagery in Chinese lute music. Kent State University Press. pp. 39–40. ISBN 0-87338-455-5.
- ^ Myers 1992, pp. 20–21.
- ^ Bulag, Uradyn E. (July 1999). "Models and Moralities: The Parable of the Two "Heroic Little Sisters of the Grassland"". The China Journal. 42 (42): 21–41. doi:10.2307/2667639. JSTOR 2667639. S2CID 143684883.
- ^ The Concise Garland Encyclopedia of World Music, Volume 2. Garland Encyclopedia of World Music. Routledge. 2008. pp. 1104–1105. ISBN 978-0415994040.
- ^ The Li Collection was published as Nanbei Pai Shisan Tao Daqu Pipa Xinpu
南北 派 十 三 套大曲 琵琶 新譜 in 1895. - ^ a b Lin, Esther E.-Shiun (20 April 1996). Pipa pai : concept, history and analysis of style. Open.library.ubc.ca (Thesis). doi:10.14288/1.0087817. Retrieved 20 April 2021.
- ^ "Comparison of Three Chinese Traditional Pipa Music Schools with the Aid of Sound Analysis" (PDF). Archived from the original (PDF) on 26 April 2012. Retrieved 20 April 2021.
- ^
劉 義 慶 《世 說 新語 》 A New Account of the Tales of the World by Liu Yiqing. Original text: 桓大司馬 曰:「諸君 莫輕道 ,仁 祖 企 腳北窗 下 彈 琵琶 ,故 自 有 天際 真人 想 。」 Translation: Grand Marshal Huan said: "Gentlemen, do not disparage Renzu, he played the pipa under the north window with his leg raised, and thus evoked thoughts of an immortal in heaven." (Note that Renzu (仁 祖 ) refers to Xie Shang.) - ^
隋 書 Book of Sui. Original text:先 是 周 武 帝 時 ,有 龜 茲人曰蘇祗婆,從 突厥皇后 入國 ,善 胡 琵琶 。聽其所 奏 ,一均之中間有七聲。因 而問之 ,答 雲 :『父 在 西域 ,稱 為 知音 。代 相 傳習 ,調 有 七 種 。』以其七 調 ,勘校 七 聲 ,冥 若 合符 Translation: In the beginning, during the reign of Emperor Wu of Northern Zhou, there was a Kuchean named Sujiva, who came into the country with the Tu-jue empress and excelled in playing the hu pipa. Listening to what he played, within one scale there were seven notes. He was thus questioned about it, and he replied: "In the Western Region, my father was praised for his knowledge of music. As transmitted and practised through generations, there were seven kinds of mode." Taking his seven modes, and on investigating and comparing them with the seven notes, they fitted together and tallied well. - ^ Laurence E. R. Picken and Noel J. Nickson (2000). Music from the Tang court (PDF). Vol. 7. Cambridge University Press. ISBN 978-0-521-78084-1.
- ^ 《
舊 唐 書 ·音樂 二 》 Jiu Tangshu (Old Book of Tang) Original text:後 魏 有 曹婆羅門 ,受龜茲琵琶于商人 ,世 傳 其業。至 孫 妙 達 ,尤 為 北 齊 高 洋 所 重 ,常 自 擊 胡 鼓 以和之 。 Translation: During Later Wei there was Cao Poluomen, who was a trader in Kuchean pipa for whose craft he was famous. His grandchild Miaoda [曹妙达] in particular was highly regarded by Emperor Wenxuan of Northern Qi dynasty, who would often play the hu drum in accompaniment. (Note that Poluomen (or Bolomen) means Brahmin or Indian.) - ^ "
琵琶 錄 - 维基文 库,自由 的 图书馆". Zh.wikisource.org. Retrieved 20 April 2021. - ^ Note that some people claimed Pei Xingnu to be the female player described in the poem Pipa Xing, there is however no definitive proof of that claim.
- ^ Duan Anjie – A Music Conservatory Miscellany (Yuefu zalu
樂 府 雜錄 ) Original text: –貞元 中有 王 芬、曹保,保 其子善 才 其孫曹綱皆 襲 所 藝 。次 有 裴興奴 ,與 綱 同時 。曹綱善 運 撥 ,若 風雨 ,而不事 扣弦,興 奴 長 於攏撚,不 撥 稍 軟。時人 謂 :「曹綱有 右手 ,興 奴 有 左手 。」 Note that Shancai was used as a word to mean virtuoso or maestro during the Tang dynasty. - ^
琵琶 行 (Pipa xing) Original text: –曲 罷 曾教善 才 伏 ,妝成每 被 秋 娘 妒。 Translation: Her art the admiration even of master Shancai, Her beauty the envy of all pretty girls. - ^
劉 禹錫 《曹剛》 Cao Gang by Liu Yuxi Original text:大 弦 嘈囋小 弦 清 ,噴雪含風意思 生 。一聽 曹剛彈 薄 媚 ,人生 不 合 出 京 城 。 - ^ Houshan Shihua《
後山 詩話 》 by Chen Shidao (陳 師道 ), relating a story about Ouyang Xiu listening to Du Bin. Original text:故 公 詩 雲 :座中 醉客 誰 最 賢 ?杜 彬 琵琶 皮 作 弦 。自 從 彬 死 世 莫傳。 Translation: So Master (Ouyang Xiu) in his poem says: "Who amongst the drunken guests in their seats was the most worthy? It's Du Bin who played the pipa with animal hide for strings. Ever since Du Bin's death such skill is lost to the world". - ^ 《
湯 琵琶 傳 》 Original text: 而尤得意 於《楚 漢 》一 曲 ,當 其兩軍 決戰 時 ,聲 動 天地 ,瓦屋 若 飛 墜。徐 而察之 ,有金 聲 、鼓 聲 、劍 弩 聲 、人馬 辟易 聲 。俄 而無聲 。久之 ,有 怨而難 明 者 ,為 楚歌 聲 ;淒而壯者 ,為 項 王 悲歌慷慨 之 聲 、別 姬 聲 ;陷 大澤 ,有 追 騎 聲 ;至 烏江 ,有 項 王 自刎 聲 、餘 騎 蹂踐爭 項 王 聲 。 - ^ "Wei Yang". Naxos.
- ^ "Liang-xing Tang". National Endowment for the Arts.
- ^ Chou, Oliver (6 December 2014). "Lui Pui-yuen, master of Chinese music, returns to perform once again". South China Morning Post.
- ^ Cheng Yu : 5 string pipa (retrieved 13 July 2016
- ^ "Incubus - Mike Einziger Guitar Gear Rig and Equipment". Uberproaudio.com. Retrieved 20 April 2021.
- ^ "[search page, albums featuring Yang Jing]". yangjingmusic.com. Archived from the original on 14 July 2019.
- ^ Pauline Bandelier (June 19, 2015). "La scène musicale alternative pékinoise vue par Jean Sébastien Héry (Djang San)". chine-info.com. Archived from the original on June 24, 2018. Retrieved July 8, 2016.
- ^ "BC GRIMM Experimental Acoustic-Electric Music EPK". Grim Musik. 26 January 2017.
- ^ "Experimental Electric Pipa - 试验电
琵琶 , by Zhang Si'an (Djang San 张思安 )". Djangsan.bandcamp.com. Retrieved 20 April 2021. - ^ "Black Silk - Single by Jiaju Shen". Music.apple.com. 30 June 2015. Retrieved 20 April 2021.
- ^ "Celestial Pipa Musician". Smithsonian Museum.
HISTORICAL PERIOD(S) Five Dynasties to Yuan Dynasty, 10th to 13th century; MEDIUM Pigment on stucco; DIMENSIONS H x W: 38.2 x 36.2 cm (15 1/16 x 14 1/4 in); GEOGRAPHY China; CREDIT LINE Gift of Arthur M. Sackler; COLLECTION Arthur M. Sackler Gallery; ACCESSION NUMBER S1987.265
Bibliography
[edit]- Sadie, Stanley; Tyrrell, John, eds. (2001). New Grove Dictionary of Music and Musicians (2nd ed.). New York: Grove's Dictionaries. ISBN 1561592390.
- Millward, James A. (June 2012). "Chordophone Culture in Two Early Modern Societies: "A Pipa-Vihuela" Duet". Journal of World History. 23 (2): 237–278. doi:10.1353/jwh.2012.0034. JSTOR 23320149. S2CID 145544440.
- Myers, John (1992). The way of the pipa: structure and imagery in Chinese lute music. Kent State University Press. ISBN 9780873384551.
- Picken, Laurence (March 1955). "The Origin of the Short Lute". The Galpin Society Journal. 8: 32–42. doi:10.2307/842155. JSTOR 842155.
External links
[edit]![](https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png)
- The Pipa on the Heilbrunn Timeline of Art History, The Metropolitan Museum of Art