midicnMusic History 中文

The Pipa Tradition

The pipa arrived from Central Asia, shifted from horizontal plectrum playing to upright fingering, and grew lyric and martial repertoires.

The pipa entered China along the Silk Road: four strings, a pear-shaped body, and a range from literati sorrow to battlefield bronze.

History

Straight-necked lutes of the Qin and Han merged with the bent-necked Central Asian pipa during the Wei-Jin period. In the Tang it entered yanyue and daqu, held horizontally and struck with a plectrum; Bai Juyi's Pipa Xing fixed its sound in words. From the Song it was held upright and plucked with the fingers, and lyric and martial styles diverged. In the Ming and Qing it joined nanyin, pingtan and shifan; Liu Tianhua added semitone frets in the twentieth century.

The instrument and its playing

The pipa has four strings tuned A2, D3, E3 and A3, with six bridges and twenty-four frets. The right hand uses tan, tiao, lun, sao, fu, zhe and fen; the left hand presses, vibrates, pushes and slides. Lyric pieces depend on left-hand colour, martial pieces on attack and sweeps. Tremolo spins a single note into a line.

Repertoire

Lyric works include Sunset over the Xiao and Xiang, The Moon on High, Beyond the Frontier and Zhaojun's Departure; martial works include Ambush on All Sides, The Hegemon Removes His Armour and Haiqing Seizes the Swan; modern pieces include Dance of the Yi People and Five Heroes of Langya Mountain.

What to listen for

Check whether the tremolo grains are even, then locate the burst of a sweep. In lyric pieces follow pitch bends; in martial pieces follow shifts of speed and weight. The library's Tan Pipa and Pipa Xing are folk songs about the instrument, not pipa solos.

Common misunderstandings

The pipa is often assumed to have always been held upright and plucked by hand, or reduced to Ambush on All Sides. In the Tang it was horizontal and plectrum-struck; the upright finger style came later. Lyric and martial pieces matter equally, and nanyin and pingtan use the instrument too.

Listen in the library

Gusu fengguang, Da jiulianhuan)C10:46C1《姑苏风光》苏州小调,评弹双档以琵琶三弦托腔,可听江南句尾,非琵琶独奏Details弹琵琶C30:26《弹琵琶》民歌,唱琵琶表演的场景;C3 民歌,C1 无琵琶录音Details琵琶行C30:27《琵琶行》民歌,以白居易长诗为题,听叙事句的起伏;C3 民歌,C1 无琵琶录音Details

All tracks from midicn-lib — inline badge is the license tier (C1 commercial / C2 non-commercial / C3 study only).

Sources

  • 《中国音乐词典》编辑部编,中国音乐词典(人民音乐出版社)— 条目与年代核对,未引用
  • The New Grove Dictionary of Music and Musicians, 2nd ed., entry "China" — framework and dates checked, not quoted

Used for fact-checking only; all prose is original.