Therefore, I can't find a specific way to play the pipa.
The following papers will increase your interest in pipa, and you will also see how to write pipa:
Music is rich by poetry, and poetry is elegant by music.
-On the Mutual Blending of Tang Poetry and Pipa Art
Abstract: Pipa, as an ancient and representative national musical instrument, has been inextricably linked with literature since ancient times. This relationship is mainly reflected in the blending of Tang poetry and pipa art. This paper first analyzes the reasons for the blending of Tang poetry and pipa art, and then divides it into two parts: first, the performance of Tang poetry to pipa art; Second, the expression of pipa art to the content of Tang poetry. Through the discussion of these two aspects, it is concluded that "music is rich in rhyme because of poetry, and poetry is elegant because of music".
Keywords: literature; Music; Tang poetry; Pipa art; mix
Literature and music are originally two kinds of arts, which can exist independently. Literature takes language as the carrier and gives people rich emotional experience through vision; Music attracts people's hearing organs, thus giving people beautiful enjoyment and pleasure. However, these two different arts, which rely on vision and hearing respectively, have been inextricably linked, especially in ancient times.
Musicology divides music into vocal music and instrumental music. Judging from the development history of ancient music in China, ancient instrumental music in China is more developed than vocal music. From the simple stone instrument recorded in Shangshu "Dancing at the speed of thousands of animals" to the complex and exquisite pipa performance described by Bai Juyi "Like a big and small pearl tilting a jade plate", China classical national instrumental music has experienced a development process from simple to complex and from low to high. It must be pointed out that this development process is closely related to literature. Literature, as a carrier, records this development of instrumental music; Moreover, literature is not only a record of this development, but also a powerful driving force, which plays a special and important role in the development, enrichment and perfection of national instrumental music.
Throughout the history of the integration of China classical literature and national instrumental music, the pipa is undoubtedly a protagonist. This blending relationship is mainly reflected in Pipa and Tang Poetry, two typical literary styles in ancient China. Investigate its reason, try to sum up in the following four aspects:
(A) the prevalence of Yan music in the Tang Dynasty
The Tang Dynasty was the heyday of the development of culture and art in China feudal society. During the Tang Dynasty, due to the development of music itself, the prosperity of society and the attention of rulers, Le Yan Palace, which was mainly composed of songs and dances, became a major music brand at that time, and was also in a leading position in the world music field at that time. According to "Tongdian? Sato geisha records: "Sato geisha is Le Yan, mainly pipa, so it is called pipa music. "It can be seen that the pipa was the dominant instrument in the Yan Music Band at that time, and the songs, dances and music in the large-scale music and dance were mainly played by the pipa. Pipa flourished with Yan music, and became an elegant and popular musical instrument from court to folk. The Jiangling generation has the degree that "pipa is more than rice cookers and measures are more than crucian carp". As a result, pipa music ushered in the first peak in its own development history in the Tang Dynasty.
"Literature originates from society, and social life is the only source of literature." (3) In the Tang Dynasty, when Yan Yue was in its heyday, literature, as a reflection of social life, was bound to take music as its important creative material. In the literary genre, poetry, as the main body of literature in the Tang Dynasty, naturally became the most important, extensive and wonderful carrier to express the art of pipa music.
(B) the Tang literati's own high musical literacy
In addition to the court Yan music, the literati music in the Tang Dynasty is also a very important part of social music. In addition to superb literary attainments, many literati in the Tang Dynasty generally liked music, or played musical instruments, or sang and sang. There are naturally some masters of music among them. Poets like Wang Wei and Liu Xiyi are masters of pipa playing. Yu Lun Bao, composed and played by Wang Wei, has become a famous pipa song that has been passed down through the ages. Because of the literati's love for pipa, they are bound to show it in their poems. Besides entertaining oneself, keeping prostitutes is another important social and cultural foundation for the development of literati music. The leisure life of literati is deeply influenced by the singing and dancing of prostitutes, which will inevitably play a role in their poems. So pipa naturally became attached to Tang poetry.
(C) the characteristics of pipa music itself
From the content, traditional pipa music can be divided into two categories: literary music and military music. The so-called pipa Wen Qu generally refers to the beautiful lyrical melody, slow rhythm, and the use of pushing, pulling, singing, rubbing with the left hand and other skills in playing. Music either expresses delicate feelings in the heart or depicts natural scenery, such as "Moonlit Night on a Spring River" and "Feihua Cuisine". Wu Qu, on the other hand, is full of intense emotions. His music is magnificent, his rhythm is complex and changeable, his performance is dramatic, and he pays attention to the playing skills of his right hand, showing a strong atmosphere and emotion. His representative music includes "House of Flying Daggers" and "Big Waves Wasting Sand". Both Wenqu and Wuqu can express certain plots or stories, and we can see that the traditional music of Pipa has rich expressive force and profound connotation and enduring good taste. This feature can be regarded as the literariness of Pipa traditional music.
Then look at the melody of the pipa instrument. Pipa Wen Qu often uses soft and soothing tones to express a fresh or delicate or sad emotion; Wu Qu, on the other hand, is broad-minded and bold, and can create a realm of ups and downs and extraordinary verve. This coincides with the graceful and unconstrained artistic conception of Tang poetry.
Due to the literary characteristics of pipa music and the unique musical characteristics of pipa instruments, it is possible and feasible for pipa music to express Tang poetry works in the form of music.
(4) The tradition of "singing poems for fun" (4)
From the origin of art, songs and poems are one. The earliest such as The Book of Songs, 300 songs can be strung together; Chu Ci originated from the primitive songs and dances of Chu State. Yuefu in the Han and Wei Dynasties was also a music and dance, and Ban Gu wrote Han Shu in the Eastern Han Dynasty? Literature and art called Yuefu poetry at that time "Song Poetry". The new folk song "Quzi" in Tang Dynasty is accompanied by pipa, flute, drum and other musical instruments, accompanied by five words, seven words or long and short sentences. Because of the special literariness of Quzi Ci, Quzi gradually attracted the interest of writers. Since the mid-Tang Dynasty, poets such as Wang Wei, Bai Juyi, Zhang and Zhang Songling have absorbed the expression of folk songs and filled them into the lyrics of the song. Among them, Wang Wei's seven-character quatrain "Sending Yuan to Twenty Banks" has been sung through the ages as the famous "Three Layers of Yangguan". "Singing poetry into music" has become a temporary trend, and some outstanding masterpieces have been widely sung as soon as they entered music, and they have never died out. To sing these poems in the form of music, we must be inseparable from the pipa, the main accompaniment instrument.
Then look at the relationship between pipa and Tang poetry from the ancient spectrum of pipa. The popularity of poetry and music in the Tang Dynasty can be seen from the music score of the pipa found today. Now we can really see the lute music of the Tang Dynasty: the lute music of Dunhuang discovered in Dunhuang Grottoes in China in 1900, the fragments of Tian Ping's lute music of Zhengcang Institute in Japan, and now the five-board piano music of Yangming Library in Kyoto, Japan. These pipa scores are all accompanied by lyrics, that is, Tang poetry. Many of Li Bai's poems, such as "Guan Shanyue" and "Drinking for the Moon", are included in Dunhuang pipa music, and there is also a phenomenon that a poem has multiple pipa accompaniment songs. It can be seen that the accompaniment of pipa in Tang poetry is also an important reason for the blending of the two.
The blending of pipa art and Tang poetry is a relationship of mutual expression and influence. Tang poetry describes and depicts the art of pipa in the form of words, and pipa presents the melody of Tang poetry to people in the form of music. The performance of pipa provides creative materials for Tang poetry, and the language of Tang poetry can be expressed through the wonderful performance of pipa, that is, the two can be materials for each other. The following will discuss these two aspects in detail with some examples, aiming at explaining the close relationship between pipa art and Tang poetry.
The Expression of Tang Poetry to Pipa Art
According to the statistics of "Pipa Manual" edited by Zhuang Yongping, there are nearly 100 famous articles related to pipa in Tang poetry. Among them, there are jade pipa and pipa strings, which describe the pipa instrument itself. There are "Cao Gang" and "Tainiang Song" involving performers; There are "Pipa" and "Five-string Opera" which describe performance and appreciation, and so on, which are numerous and magnificent. And describing the pipa instrument itself and its performance is the most exciting part. At the same time, many poems about objects with pipa as the main material appeared in this period, among which Liu Yuxi, Bai Juyi, Yuan Zhen and Li Shangyin were prominent. Generally speaking, Tang poetry is a historical peak of pipa art and literature expression, both in quantity and quality.
This expression of pipa art in Tang poetry is a complex system, and the connotation of another level expressed by the poet through pipa is also multifaceted.
(1) The material of Tang poetry is pipa, which shows the superb pipa playing skills at that time.
"The bright moon enters the heart of the river" in Bai Juyi's Pipa is recognized as a masterpiece of poetry describing the performance of musical instruments. The poet mobilized analogy, metaphor, contrast, cadence, vertical and horizontal courtship and other techniques to describe positively; At the same time, the poet renders and sets off the performance of the pipa girl by describing the natural scenery and the feelings of the audience. The phrase "She brushes the strings, twists them slowly, sweeps them and plucks them" was originally after "Nishang" and "Liu Yao". The poet started with the left and right fingering of the pipa and the popular pipa Daqu at that time, letting us know that in the Tang Dynasty, the fingering of the pipa was complicated and the repertoire was huge. The sentences of "big string" and "small string" describe the different timbres of different strings of pipa. From the words "urgent rain" and "whisper", we can find that the pipa at that time had strong emotional expression. As for the phrase "like pouring pearls, large and small, into a plate of jade", it is to give the pipa's music with clear rhythm and elegant as pearls a beautiful enjoyment in the form of words. The following is a very long descriptive text, in which the poet has integrated the scenery description, which is more full of charm, just like music pouring into the reader's heart. Subjectively, all this is due to the superb level of the poet's word control, but objectively, it shows the superb pipa playing skills at that time.
Author: ci _ cy2005-4-2122: 21reply to this statement.
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My graduation thesis is related to pipa.
In Pipa poems, many of them only use profile descriptions and comments to express the superb playing skills of Pipa. Pipa plays an important role in frontier poems in the Tang Dynasty, such as "Nocturnal glass of grape wine, urge the pipa when you want to drink it" ⑤, "There is always a parting feeling in the new voice of pipa dance" ⑤ and other famous sentences. The best performance of pipa performance skills are those poems that regard pipa as "sensational". Cen Can's "Liangzhou Pavilion and Judges' Nighttalk" contains a poem "A pipa is heartbroken, and the wind is rustling and the night is long". This sentence does not describe the performance of pipa from the front, but the audience's reaction is enough to show the exquisite performance technology-how can sensational music make people feel sad? In addition to frontier poems, there are some simple comments on pipa players to show the pipa playing skills at that time. Liu Yuxi wrote in the poem Cao Gang: "When Cao Gang played Foksey, he was ordered to leave the capital", and Bai Juyi wrote a poem "Who can cut off Cao Gang's hand and put it in heavy lotus's sleeve". Pipa playing can make people "go out of Beijing" and even want to "chop off Cao Gang's hand", which shows how skilled Cao Gang is and also reflects the pipa playing skills of a dynasty.
In a word, the Tang Dynasty was a peak period of Chinese pipa art, with pipa masters like stars and famous songs like clouds. Many musicians have pushed the pipa art to an unprecedented height with impeccable exquisite skills and hearty emotional expression. The reason why modern people can understand these things so truly must be due to the description and performance of literature dominated by Tang poetry.
(2) The poet, represented by the pipa art, expresses the inner feelings of the poet or musician.
It is not difficult to find this phenomenon from many poems about pipa performance, musicians and music. Most of these poems contain nostalgia, life experience and vicissitudes of life. This is related to the temperament of pipa itself. Pipa has a tone that can make people feel sad and fiery, and those touching pipa music can outline the spiritual world that can't be expressed in words in the hearts of literati.
Let's take Bai Juyi's Pipa Trip as an example. "We are not happy-until the end of the day, we met. We understand. What is the relationship between acquaintances? " It is a self-portrayal of the poet's typical emotions, which are revealed by the author after listening to the performance of the pipa girl. The poet compared the performances of pipa girls such as "Yue Xian" with "folk songs and village flutes" and spoke highly of pipa performances. It is this wonderful piano sound that communicates the emotional channel between him and the pipa girl and builds an emotional bridge in their hearts. The deep-seated content that the poet wants to express through the performance of the pipa girl and her life story is nothing more than his own feelings about the life story.
Since ancient times, all the poems written by Wang Zhaojun have been related to the pipa. Liu Changqing wrote in Song of Wang Zhaojun: "Pipa is bitter, and the sound of Qiang flute is harmonious. Whoever pities a song and spreads it to Yuefu can make future generations hurt and continue to lead. " Dong Sigong wrote a poem in Revenge of Zhaojun: "Pipa is difficult to play for a while. ..... considering the beauty change, holding the mirror in vain. " Bai Juyi once wrote: "The four strings are not like the sound of pipa, drawing beads and ringing bells." ..... If the captain misses Beijing, it seems to be telling Princess Ming that she hates the DPRK. "⑧ ... these are all related to the allusions of Zhao Jun's going to the castle to hold the pipa. Zhao Jun's pipa playing skills are hard to know, and the ultimate purpose of the poet quoting Zhao Jun's allusions in his works is not here. The poet is concerned about the loneliness and desolation of Zhao Jun, which is far away from the hometown of the Central Plains. Pipa is a tool to render this sense of desolation, and Wang Zhaojun and Pipa have formed a kind of sadness at the highest level. What all this shows is nothing more than the poet's own frustration with life or sadness about the passage of time or nostalgia for his hometown.
It should be said that the essence of Tang poetry, which is based on the pipa art, is not to express the pipa art itself, but that without the participation of pipa, the appeal that these poems can convey to readers will be greatly reduced.
Second, the performance of pipa art on the content of Tang poetry
The most obvious and obvious embodiment of pipa art to the content of Tang poetry is the names of those poetic pipa music. Both ancient pipa music and modern pipa music pay attention to "elegance" in literature in their names, and many famous songs can see the shadow of literature from their names. From the list of pipa music compiled by Zhuang Yongping, we can find some works with poetic titles: Overlord Dismantling, Remnant Lotus Singing Night Rain, Song of Eternal Sorrow, Moonlit Night on a Spring River, Big Wave Tao Sha, Flying Flowers and Running Water, and Dream of Red Mansions. In short, from the perspective of the title, the art of pipa has clearly demonstrated the significance of literature. In addition, from the subtitle of Pipa Daqu, we can also see the reference and application of Pipa art to Tang poetry. For example, the pipa "New Feather Turning Green Waist Tune" created by contemporary people is created by the author according to the description of the dance "Green Waist" in Tang poetry. The music imitates the structure of Daqu in Tang Dynasty and is divided into five sections, each with a subtitle. Among these five subheadings, except for the first paragraph quoted from Pipa Music by Yuan Zhen, a poet in the Tang Dynasty, the other four paragraphs are quoted from Li Qunyu's Going East for Nine Days to Watch Dance. The second paragraph is called "Light Green Waist Dance", which is shot in the middle sequence, with beautiful and elegant melody, showing the dancer's graceful dance; The third paragraph is "slow state can not be poor." The music is slow and fast, and the mood is active, showing a dazzling picture of the dancer's posture; The fourth paragraph, "Like Youlong's move", is full of momentum, using pipa playing techniques such as finger shaking and finger hooking to show dancers playing back and forth like goldfish. The fifth paragraph is "Music in the End", with a full range, the melody ups and downs in the wide range of the pipa, and the fast sixteenth notes are swept by force, showing the vivid scene of the rapid turning and climax of the green waist dance at the end of the music. It is impossible for the author of this pipa to witness the wonderful scene of the dance "Green Waist" that year. The reason why the author can write such a vivid pipa is because he draws material from Tang poetry and musicizes the language and image of the poem, so the pipa "New Feathers Turn to Green Waist" was born.
Author: ci _ cy2005-4-2122: 21reply to this statement.
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My graduation thesis is related to pipa.
From the literary point of view, readers can have a feeling about a work and write "thoughts after reading" in the form of words; Pipa music can also express certain plots and stories, and can interpret the author's inner thoughts and feelings in a musical way, so Pipa art also has the function of expressing readers' experience after reading a certain work. Wu, a contemporary pipa artist, wrote "Five Thoughts on Reading Pipa in Tang Poetry", which well embodies this "function" of pipa art. Author Wu has a feeling after reading Bai Juyi's Pipa Travel. He firmly grasped that the pipa girl was the advocate of Chang 'an. She studied pipa under Mu and Cao, and then she gave full play to Jia's wife's tragic life experience due to her advanced age. Music begins with a freely recited tune, just like a random sequence of Daqu in the Tang Dynasty, which is tight and loose, strong and weak. It seems that the pipa girl is telling the resentment in her heart and lamenting the sorrow of being reduced to the world. Then there is the lyric adagio, like a big song, with euphemistic tunes. This is the grand scene of music and dance in the court when the pipa girl recalls the past years in the capital, which makes people cry, and there is a bit of sadness in her graceful dance. Then, the melody moves up four degrees and plays. At this time, a cadenza with free rhythm was inserted, and there was a loud push-pull sound, just like the cry of a maid-in-waiting, sad and sad. After the music enters the unfolding stage, the melody sometimes flows and sometimes meditates, and the range is high and low. The sentence "She brushes the strings, twists slowly, sweeps and plucks" is interpreted by various means, such as covering, dividing, sweeping, rolling, wheeling and pushing. The following Allegro, like a big song, was played with sixteenth notes. The cheerful dance was dazzling, and it showed "humming and whispering-and then intertwined, like pouring pearls of all sizes into a plate of jade" wonderfully and appropriately. Finally, there is a period of Changle with free rhythm and long wheels, which fully shows the sadness that "neither of us is happy-until the end of the day". The picking of triplets gives people a feeling of empty valley echo, and makes people realize that the scene of singing and dancing in those days is gone forever. As a musical expression of "feeling after reading", this piece of music is an outstanding work, which is highly unified with Pipa Xing in structure and emotional experience.
There is also a pipa that musicalized Tang poetry-"Moonlit Night on a Spring River", which is also a model of pipa artistic expression in Tang poetry works. Zhang's poem "Moonlit Night on a Spring River" is natural and creates a poetic style. Poetry takes "moon" as the clue, and there are sixteen words "moon" together with the title in the poem, which not only won't make people feel redundant, but also skillfully integrates fresh and beautiful natural beauty, endless parting, and the pursuit of philosophy of life and the mystery of the universe into "moon", presenting us with a crystal dreamlike artistic conception. The pipa Moonlit Night on the Spring River is one of the most representative masterpieces of China's national music. The author of the work can not be verified, and it is basically recognized as the crystallization of long-term creative exploration by literati musicians. The melody of the whole song is elegant and quiet, and the melody is euphemistic and melodious, like a delicate and feminine landscape painting, and it is also an elegant and ethereal and feminine landscape poem. Through the fresh and bright timbre of the pipa, the whole piece of music presents the scene of the mighty river and dancing with the bright moon, and also expresses people's cherish of nature. First of all, this poem achieves a certain unity in central meaning and poetry. Moreover, music is similar to poetry in structure. The pipa "Moonlit Night on a Spring River" adopts the method of "changing the head and ending" in melody, that is, each paragraph of the music starts with a different beginning and ends with a short similar melody. This makes the music interlocking, continuous ups and downs, sometimes wonderful, sometimes low back, giving full play to the rich connotation and charm of the whole music. The similar melody at the end of each paragraph in music becomes the clue of the whole music, which has a similar position and the same function as the word "moon" in the poem, which makes the music and the poem structurally consistent and has the significance of setting each other off. Therefore, the pipa Moonlit Night on the Spring River is based on the poem Moonlit Night on the Spring River, both in meaning and structure. The wisdom of poets and musicians makes them integrate in temperament, and finally makes the pipa "Moonlit Night on a Spring River" a rare masterpiece of pipa art performance literature.
From the above examples, we can see that although Pipa art can exist independently, without the addition of music based on classical literary works, Pipa art will lose its great cultural connotation and unique charm as a classical national instrument.
To sum up, there is a close relationship between Tang poetry and pipa, and the performance of pipa art in Tang poetry makes readers feel immersive; Pipa art is based on Tang poetry and presented to people in a wonderful, fresh and refreshing way. Poetry and music complement each other, music is full of rhyme because of poetry, and poetry is elegant because of music, all of which have achieved good aesthetic effects. Inspired and talented poets and musicians in the Tang Dynasty, they influenced each other, learned from each other and learned from each other's creative materials. They enriched the pipa art with poetry and sublimated the Tang poetry with pipa art.
Precautions:
① Zhuang Yongping. Pipa manual [M] Shanghai: Shanghai Music Publishing House, 200 1, P 10.
② Zhuang Yongping. Pipa manual [M] Shanghai: Shanghai Music Publishing House, 200 1, P 10.
③ Tong Qingbing. Course of literary theory [M]. Beijing: Higher Education Press, 1998, p.63.
(4) Li Fangyuan and Yu Mei. An analysis of literati music in Tang Dynasty [J]. Journal of the central conservatory of music, 1998, (3), P6 1.
⑤ William Wang's Liangzhou Ci.
6. Wang Changling's Join the Army
All landowners Bai Juyi "listen to Cao Gang pipa, heavy lotus".
⑧ Bai Juyi's Spring Listening to Pipa, be a simple secretary of Sun.
References:
① Zhuang Yongping. Pipa manual [M] Shanghai: Shanghai Music Publishing House, 200 1
② Liu Chongde. Hundreds of ancient music scores of Yuefu poems [M]. Baoding: Hebei University Press, 200 1
③ Wu Zhao and Liu Dongsheng. A brief history of China's music [M]. Beijing: People's Music Publishing House, 1983.
(4) Zhang He Luo. History of China Literature (Volume I) [M]. Shanghai: Fudan University Press, 1996.
⑤ Fan Yifu. Reflections on the theme of the national instrumental ensemble "Moonlit Night on a Spring River" [J]. Journal of Xianning Teachers College, 200 1, (4)
⑥ Jiang. On the musical description of Pipa Xing [J]. Journal of Hunan Institute of Taxation, 2000, (6)
⑦ Cui Yue. Pipa Art in Tang Poetry and Song Poetry [J]. Symphony-Journal of ——Xi Conservatory of Music, 1999(3)
Fiona Fang, Yu Mei. An analysis of literati music in Tang Dynasty [J]. Journal of the central conservatory of music, 1998(3)
Pet-name ruby Wei Shi. On the artistic features of Pipa traditional music [J]. Journal of Zibo Teachers College, 1998( 1)