The Role of Gu Qin Playing Techniques in the Sinicization of the Pipa Music

• Main Authors: Ching-Long Chen, 陳慶隆
• Other Authors: Tsann-Rong Kao
• Format: Others
• Language: zh-TW
• Published: 2005
• Online Access: http://ndltd.ncl.edu.tw/handle/23824718454137294314

碩士 === 國立成功大學 === 藝術研究所 === 93 === This paper examines the role of Gu Qin playing techniques in the sinicization of Pipa music. The five chapters of the paper are summarized as follows: Chapter One provides a historical background on the transformation of the Pipa (the Chinese Lute). This once foreign instrument had belonged to a distinctively different category from a Chinese musical instrument, the Gu Qin, but later assimilated Gu Qin musical style and technique. Chapter Two illustrates and compares the construction details of the two instruments in showing the influence of the Gu Qin on the construction of the Pipa. Chapter Three examines how Pipa music constructed a unique Chinese musical vocabulary by employing Gu Qin performing techniques of “Yin”(吟, plucking),“Rou”(猱, rubbing),“Zhu”(注, pushing) and“Chuo” (綽, sweeping) as well as Quyin (取音, taking sound) and Chuxian (觸絃, touching the string). Chapter Four explores how the Pipa music absorbed from Gu Qin music scores its composition, arrangement and musical style, then re-createed and created its own musical style. Finally, Chapter Five looks at the role of the aesthetics of the Gu Qin in the creation of the new aesthetic values of the Pipa music.