Around the Qin Dynasty, a round musical instrument with a long handle began to circulate. Because there are two main ways to play: popping forward is called "batch" and picking it up is called "ba", so people call it "batch ba". Later, in order to write in a unified way with Qin, Qin and other musical instruments at that time, it was renamed Pipa.
During the Northern and Southern Dynasties, pear-shaped speakers, curved necks and four-stringed instruments came from the Western Regions, and some people combined them with China's pipa to make a new pipa. In the method of playing, the horizontal grip is changed to the vertical grip, and the plucking is changed to the five fingers of the right hand. After improvement by many artists, it has become two kinds of pipa: four-phase thirteen-grade pipa and six-phase twenty-four pipa.
Pipa, also known as "Pipa", was first recorded in the history of Liu Xi's Interpretation of Famous Musical Instruments in the Han Dynasty: "Pipa originated in Hu Zhong, and then drummed. Say yes when you push your hand, and say yes when you pull it, just like when you drum, because you feel famous. " This means that the batch handle is an instrument that is played on a horse. When you bounce forward, it's called batch, and when you pick backward, it's called handle. According to its performance characteristics, it is named "batch handle". In ancient times, knocking, striking, bouncing and beating were all called drums. At that time, nomadic people were good at playing pipa on horseback, so they "immediately beat drums." Technical Record of Wang Sengqian in Southern Dynasties: "Empress Wei Wende plays the pipa with graceful charm. Ming Di tasted the clothes behind him and begged for music. Yangfu stood by and asked the emperor,' Empress Dowager, your majesty's mother, is your ceremony evil?' The emperor withdrew his hand in shame and went out. Well, the emperor said to Fu Shuo,' I know your respect, but I can't speak from you now because I'm worried about injustice. How can I meet Iraqis? The melody after this sentence is exquisite. "Visible, in the Wei and Jin dynasties, the name" pipa "officially entered the court. Pipa evolved from straight-necked pipa and curved-necked pipa in history. According to historical records, the straight-necked pipa appeared earlier in China. "Qin Hanzi" in Qin and Han Dynasties is a kind of pipa with a straight handle and a straight neck, which was developed from the cymbals at the end of Qin Dynasty. Ruan is a round wooden musical instrument with four strings and twelve columns, which is played vertically by hand. Ruan Xianshan played this instrument in the Jin Dynasty, so it is commensurate with its name, which is today's Ruan.
During the Southern and Northern Dynasties, cultural exchanges were conducted with the Western Regions through the Silk Road, and music pipa was introduced from Persia to China via Xinjiang. Qupipa is pear-shaped, with four strings and four phases (without columns), and it is played horizontally with a pick. It prevailed in the Northern Dynasties and spread to the southern Yangtze River basin in the first half of the 6th century.
In the 5th and 6th centuries, with the strengthening of commercial and cultural exchanges between China and western countries, a musical pipa was introduced from Central Asia, which was then called Tiger Pipa. Its shape is a curved neck, pear-shaped speaker with four columns and four strings, much like Uttar (OUd or Ud) common in Arab countries or Barbat in ancient Persia. Hold the pipa horizontally and play it with a pick. Modern pipa evolved from this kind of music.
From the Northern Qi Dynasty to the Tang Dynasty, it was the first peak in the development history of pipa. The Pipa family in Cao Shi, which originated from Cao State (now northeast of Samarkand, Uzbekistan), is one of the outstanding representatives. For example, Cao Miaoda from the Northern Qi Dynasty to the Sui Dynasty was crowned king in the Northern Qi Dynasty for playing pipa well. After entering the Sui Dynasty, he was appointed as a court musician and taught pipa skills in Le Tai.
Among the nine or ten pieces of music in Sui and Tang Dynasties, pipa became the main musical instrument, which played an important role in the development of song and dance art in the prosperous Tang Dynasty. From Dunhuang murals and Yungang stone carvings, we can still see its position in the band at that time. In the Tang Dynasty (7th-9th century), the development of pipa reached a peak. At that time, pipa was indispensable from court band to folk singing, and it became a very popular musical instrument at that time, and it was in a dominant position in the band. This grand occasion is recorded in China's ancient poems. For example, Bai Juyi, a poet in the Tang Dynasty, vividly described the performance and acoustic effect of pipa in his famous poem Pipa: "The big strings are like rain, and the small strings are like secret words. Buzzing, whispering-then mixing together, like pouring large and small pearls into a plate of jade. "
In the late Tang Dynasty, the pipa developed greatly from playing techniques to production structure. The most outstanding innovation in playing techniques is that the horizontal grip is changed to the vertical grip, and the finger playing directly replaces the pick playing. The most obvious change in the structure of pipa is the increase from four phonemes to sixteen (that is, four phases and twelve tones). At the same time, its neck is widened, and the lower box is narrowed from wide to narrow, which is convenient for the left hand to press the phoneme. Due to the above two reforms, pipa playing technology has been developed unprecedentedly. According to statistics, there are fifty or sixty fingerings of pipa. To sum up, the right-hand fingering is divided into two systems: one is the wheel fingering system, and the other is the snapping system. Left-handed fingering is also divided into two systems: one is shiatsu system, and the other is push-pull system. The Tang Dynasty was the peak of the development of pipa, and a large number of pipa players and music emerged. For example, Cao Bao, Cao Shancai and Cao Gang of Chang 'an in the Tang Dynasty were all famous pipa players, and they were highly praised by the world. The poet praised their superb skills. Cao Gang's right hand is vigorous and powerful, and Pei Xing, an equally famous woman, is exquisite in pressing strings with her left hand and good at twisting strings. Father Pei, a famous "five-string" performer in Shule, Western Regions, is one of the most valued court musicians of Emperor Taizong, who initiated the fingering method of pipa. Kang Kunlun is known as the first hand of pipa, and Duan Shanben is a famous Buddhist musician. After competing with Kangkunlun Pipa, he entered the court and became a royal musician.
Tong Dian, a friend of the Tang Dynasty, said: "The geisha is Le Yan, who is mainly pipa, so it is called pipa music." There are many wonderful chapters describing pipa music in the literature records and poems in the Tang Dynasty, which shows that the pipa playing skills at that time have made great progress and the expressive force is very rich. First, Wuxi School
In the early Qing Dynasty, pipa was divided into southern school and northern school. The Southern School, namely the Zhejiang School, is represented by Chen Mufu. He is good at music such as Christina, Removing Armor, Moon Height, Puan Mantra, Your Legend, Water Army Exercise, Sui Chen, Wulin Yi Yun, etc. The Northern School, namely the Zhili School represented by Wang Junxi, used wheels. He is good at music such as House of Flying Daggers, Sunset Flute and Drum, Little Puan Mantra, The Voice of Yan Le Zheng, etc. Wuxi Hua and Hua Zitong drew lessons from the North-South schools and compiled the first three-volume Pipa Music published in China. The school that Fahrenheit teaches is called Wuxi School.
The secret book Pipa Story of the North-South School was published three times before and after, which had a great influence on later scholars and provided valuable information for the study of ancient pipa. Although there are not many descendants of Wuxi School. Few people play according to Fahrenheit's original music, but other factions have more or less adopted some of Fahrenheit's music and sorted out popular playing words. Therefore, Wuxi School played a connecting role in the middle of Qing Dynasty and made due contributions to the development of pipa.
Second, Pinghu School
Pinghu school thought that the Li family was a pipa family who played the piano for five generations. Li Fangyuan's father often makes friends with the piano and visits famous artists all over the world. Under the influence of his family, Li Fangyuan claimed to be the "Pipa God", which was not only superb in skill, but also compiled a New Pipa Score of Nanbei Daqu, which was published in the 21st year of Guangxu in Qing Dynasty. Later, it was called Li's score, and Li's school was called Pinghu School.
Pinghu School was handed down from generation to generation by Li Qiyu, Li Fangyuan, Wu Mengfei, Wu Baijun and Zhu Youqing (Zhu Ying), and there are three sets of new pipa, Yi Yishi Pipa and Zhu Ying Pipa 13.
Wu Mengfei studied under Li Fangyuan, and later Zhang Ziliang, a student of Li Qiyu, performed in Shanghai. His artistic activities are quite extensive, and he has made positive contributions to the promotion of Pinghu School.
Under the guidance of Li Fangyuan and Wu Baijun, Zhu Youqing initiated the fingering with his left hand, which broke through the forbidden area without fingering with his left hand and aimed at the Fahrenheit spectrum.
Pinghu School's performing arts and martial arts, Wen Qu delicate, often accompanied by virtual soothing movements, enhance the lingering sound. Wu Qu pays attention to imposing manner, giving priority to the following rounds (Your Legend uses the last round). Pinghu school of pipa has a considerable influence on the formation of various styles of pipa today.
Third, Pudong School.
Pule School originated in Jushilin and was passed down by Jushilin, Ju Maotang, Chen, Chen, Chen, Chen and others. Jushilin Pipa Music, Chen Pipa Music and Yang Pipa Music are circulating.
Ju Shilin was a native of Huinan, Nanhui County during the reign of Qianlong Jiaqing in Qing Dynasty. His date of birth and death is unknown, and his friends are very good. He is known as "the first hand in Jiangnan".
It is said that Ju once went to Suzhou Hushuguan by boat. Because the city gate is closed at night, people play pipa for recreation, and the officers and men who guard the customs are moved by the sound of the piano, so they are intermittent, so there is a beautiful legend of "bouncing off the intestines". Ju Shilin left a handwritten pipa score of Idle Stories and Quiet Voices, which was published by People's Music Publishing House on 1983. The title was Ju Shilin Pipa Score.
Ju Shilin's disciples are Ju Maotang, Chen, etc. According to Nansha magazine, "At that time, there were two people who were good at playing pipa in our city: one was Mr. Chen. I often travel and eat outside, and I recall Guangxu Dinghai (1887) going to the Wangs' home outside the East Gate of Shanghai. Stone sat there and saw the bronze armor on his finger, playing "Overlord Dismantling Armor", with a loud voice and the spirit of pulling out the mountain. People say: Chen Tao, Cheng Shan Wen Tao. " The gong and drum skills of Pudong School began in Chen, and Cao, Chen's disciple, was the best. Another disciple of Chen used a pipa that was bigger and longer than usual, and called it "Da Tao" to show his imposing manner.
Chen's second disciple, Shen Haochu, made an important contribution to the development of Pudong School, trained a large number of pipa players, and compiled and published "Yang Pipa Music".
The characteristics of Pudong Pipa School are: Wu Qu is magnificent, making good use of the big pipa, opening the bow vigorously, and Wen Qu is quiet and delicate. Its distinctive traditional techniques include: pinch rolling, long pinch rolling, various pinch playing and pinch sweeping, big chopping, flying, double flying, four-string wheel rolling, string number changing, four-string three-string, sweeping off, eight-tone phoenix nodding, various chanting, timbre variation, gongs and drums playing and so on.
Fourth, Chongming School.
Chongming, located in the northeast corner of Shanghai, is taught by Yingzhou's ancient pipa music. Originated in Chongming Island, it was later called Chongming School. Chongming School was handed down from generation to generation by Huang Xiuting, Shen Zhaozhou, Fan Ziyun and Fan, and is famous for its meaningful and beautiful style. Chongming Pipa School can be traced back to the Kangxi period of the Qing Dynasty more than 300 years ago. At that time, northern pipa was introduced into Tongzhou, including Bai Zaimei, Zi Ruru, Fan Huapo, Yang and others. The early Chongming Pipa inherited the Beipai Pipa from Baizaimei, and the evolution of its style was influenced by local customs.
19 16, the publication of "Yingzhou Ancient Tune" edited by Shen Zhaozhou and "Mei 'an Pipa Spectrum" by Xu enabled Chongming School to carry forward. Liu Tianhua, a master of modern music in China, studied Yingzhou ancient pipa with Shen Shi in 19 18, and brought these tracks to various places to play. In 1928, he produced the school's main song "Flying Flowers and Cuisine", which played a very positive role in promoting Chongming pipa.
Chongming pipa fingering requires "sparse and strong twisting method, dense and clear wheel method", and advocates "slow and continuous, fast but not chaotic, elegant and straight, not too high in sound and not too fast in knots". In particular, the wheel finger is good at "getting out of the wheel", so it has a delicate and soft voice, is good at expressing quiet and elegant emotions, and has a leisurely and delicate taste. At the same time, "emphasizing the light wheel" prefers single-tone clip play, thinking that "the wheel finger is easy to smell, but the low error is indecent." Therefore, most of his tracks are essays, among which the famous adagio and essays, such as Feihua Cuisine and Zhao Jun's Complaints, are elegant and correct; Little songs such as Fish Playing in the Water are full of life interest.
Verb (abbreviation of verb) Wang school
Wang School, also known as Shanghai School, is an important pipa school in the history of music development in China since the 20th century, and it is also the only school named after individuals. The formation of Shanghai School set off the third climax in the development history of Chinese pipa.
Wang Yuting's pipa skills were inspired by Wang Huisheng. Later, he taught Chen his pipa score. Later, Qingquan Ni, Cao and Professor of Pudong School were eclectic. According to the actual performance of Huayin, the traditional ancient music of pipa was sorted out and widely taught.
Professor Wang's students use Miyachi notation, and each one is copied by him to the students and becomes precious. According to the biography of Wang, it was later called Wang School. In Lin Shicheng's Pipa Playing Law published by 1959 Music Publishing House, "Shanghai Wang Yuting School" was listed as one of the pipa schools in writing for the first time. The performance characteristics of Wang School are as follows: At that time, it was generally the first and second rounds of southern school pipa performance, but Wang creatively used the first and second rounds, which laid the foundation for the use of the first and second rounds. Secondly, he did not stick to the traditional way of playing, but carefully revised the ancient score to make it more concise and achieved better results than before. Wang Pai's pipa performance is vigorous and touching.
Wang Pei raised a large number of outstanding pipa players in modern times. Such as Wei Zhongle, Li, Cheng, etc.