高晉

Pipa previously referred to as“the grant” or“Batch to”， from the Western， was first seen in the Eastern Han Liu Xi book “Release name· Explanation instrument”：“Pipa is on horseback playing musical instruments， forward pop called batches， called back into the pick； based on its performance characteristics and named “batch put.” before Tang Dynasty pipa instrument has been used as a general term for all the pluck. This ancient musical instrument in Chinese history of the vast river， after thousands of years of development， now has become the traditional culture is an important symbol. As a traditional folk instruments most representative of a plucked string instrument， it carries the historical responsibility of Chinese civilization inheritance and development of music.”

In Chinese history， the development of three times during the peak period pipa.

Pipa development of the first peak period in the Tang Dynasty， its open cultural policy， the opening of the Silk Road and the frequent foreign exchanges， so lute from the Western Regions China and gradually developed into a widely used instrument. This time for the pipa， its crook neck and abdomen is too large. It is similar to todays electric guitar backing strip to accommodate in a horizontal way play， sitting on the floor or on the horseback while playing. It use pluck to play.The rise of the Yan music promotes the development of lute music， bringing the first peak period of development lute. Before the opening of the Silk Road， a stringed instrument in China and the whole of Central Asia， it is very rare. This is also reflected in the title of the ancient Chinese， who the Chinese native musical instruments， mostly in a word as a title， such as“bell， pan， flute， piano，” etc.， to two words styled， mostly foreign instrument， it also from next to the description of “pipa， harp，” and other instruments as foreign instruments. The introduction of the pipa and harp and other stringed instruments， directly enrich the Sui and Tang musical instrument types， and promote the development of Chinese music culture. At the same time， the Tang Dynasty in the Central Plains music absorbed the foreign culture， but also integrate of the Chinese nation and to create understanding， passed by the Silk Road， the radiation to the surrounding countries， especially East Asia， Japan and the Korean peninsula. Tang Dynasty music really has an international， global colors. The unprecedented economic prosperity of the Tang Dynasty. With the backing of a powerful economic strength， mainly to the Court of the dance， entertainment， greatly flourish.“When Tang bloom， where musicians， sound in people， Fanhu and Yinsheng people in Taichang， they serve in Taichang Temple by turns. All the fan， the total number of sound in person， to the tens of thousands.”（Ouyang Xiu， Song Qi：“New Tang·Ceremony Le twelve”）. This shows that the Tang Dynasty， a large-scale music-industry professionals， and music institutions have been set up and manage professional orientation. Young Yinliu in“History of Ancient Chinese Music” wrote：“Tang Dynasty territory）” human and social prosperity， peoples eyes open， life is rich in content. Therefore， the Tang Dynasty able to create new national styles of music culture. ”

Pipa artistic development of the Ming and Qing dynasties， is accompanied by the development and the formation of folk music. Gradually move closer to the modern lute shape， speakers narrowed and neck becomes longer and there have goods and columns， playing in a horizontal way become vertical hold. Pipa player on the playing method has been sat on the floor or standing to play turn to sit playing， the right hand by a plectrum to play fingering， playing musical instruments and methods of improvement is the development of a major lute innovation， is a qualitative leap. It has laid a solid foundation for the development of the second peak of pipa in the Ming and Qing Dynasty. The development of this period is the folk lute， the pipa as folk songs， opera， rap music accompaniment instrument widely used. Pipa schools also gradually develop and mature， the late Ming and early Qing Dynasty， pipa arts divided into southern and northern faction faction：“North to Yanjing Wang Junxi faction（Zhili faction）， as the representative. South Zhejiang Chen Norio faction（Zhejiang faction） as the representative.” Northern School pipa arts development is relatively slow， the South sent Pipa since the beginning of the 18th century， Jiangsu and Zhejiang as the center， develop into Wuxi faction， Pinghu faction， Pudong faction， Chongming faction， Shanghai faction of the five schools. Schools produce prompted lute in the mid-Qing publishing spectrum， many classic tracks spread lute have benefited from this. Innovation and development of a number of masters lute playing skills appear and make completely Chinese pipa arts and folk， ushered in a second development peak.

With the decline of Western culture and the impact of the Qing Dynasty， Chinas cultural sector has undergone enormous changes. Rise of school songs from the movement of Western music full access to the Chinese， especially the huge impact of traditional music， a fusion of Chinese and Western musical situation is becoming the new mainstream. During this period， mostly lute player emergence on which based on the identity of the folk artists or urban intellectuals. After the May Fourth Movement， the South sent lute tradition people have been affected to varying degrees of Western music， especially Liu Tianhua， Yang Yin Liu， Cao and represented. These masters of the lute artistic heritage and development has a huge role in promoting， and lay the foundation for the later half of 20th century lute development. Thus， the third peak period of pipa began half of the 20th century， after the founding of New China， the development of folk music has been to promote and facilitate， have established professional folk music troupes， and the rescue of folk music， the status of women artists upgrade， folk music into the professional category， led directly to the development of the art of lute into a systematic and diversified new stage. The fifties began to universal use fake nails， metal strings， and creative use of tempered fabricated on a lute， so lute sound more contemporary and international， broader performance space as possible. Professional composer for lute attention， making pipa concerto appear in the seventies. Pipa players create more active and pluralism， especially Liu Dehai creative use of the lute skills， broaden the lute music space. Composer and virtuoso pipa at home and abroad are active in the world stage， so that the development of art Lute unprecedented influence widely， the third peak of this development for the lute.

Pipa art in China， experienced a pass from the West， and then spread to the world process. Her development is the foundation of cultural exchange. Features pipa can be summarized as three times the peak from the palace to the private sector， to professional development， its trajectory has a typical effect. It can according to the footprint of traditional Chinese culture. It was such a development footprint， making todays Lute Art suit both refined and popular tastes， loyal to both traditional and modern aesthetic artistic characteristics， finally have a broader space for development. Lute Art is facing new opportunities and challenges for the continuation and development of the third peak is today our artists responsibilities and tasks， power development lies in innovation， and this is the opportunity and challenge fertile ground for innovation. Let us be a witness to history and creators， for the development of pipa do their part.

[責(zé)任編輯：王楠]