Pipa

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This article is about pipa, a musical instrument. For the acronym PIPA, see Program on International Policy Attitudes.

Image:Pipa1.jpg

The pipa (Chinese: 琵琶; pinyin: pípá) is a plucked Chinese string instrument. Sometimes called the Chinese lute, the instrument has a pear-shaped wooden body. It has been played for nearly two thousand years of history in China, and belongs to the plucked category of instruments (彈撥樂器). Several related instruments in East and Southeast Asia are derived from the pipa; these include the Japanese biwa, the Vietnamese đàn tỳ bà, and the Korean bipa. The Korean instrument is the only one of the three that is no longer used. Attempts to revive the instrument have failed, although examples survive in museums.

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Playing and performance

The name "pípá" is made up of two Chinese syllables, "pí" (琵) and "pá" (琶). These are the two most common ways of playing this instrument. "Pí" is to push the index finger of the right hand from right to left, and "pá" is to pull the thumb of the right hand from left to right, in the opposite direction. The strings were originally played using a large plectrum in the Tang Dynasty, then gradually replaced by the fingernails of the right hand. Since the revolutions in Chinese instrument making during the 20th century, the softer twisted silk strings of earlier times have been exchanged for nylon-wound steel strings, which are far too strong for human fingernails, so false nails are now used, constructed of plastic or tortoise-shell, and affixed to the fingertips with the player's choice of elastic tape.

Image:Tang Pipa.jpg

Prototypes of the pipa already existed in China in the Qin Dynasty (221 BC - 206/207 BC). At that time, there were two types of pipa. One was straight-necked, with a round sound box, and two faces mounted with leather. The other was believed to be inspired by the primitive forms of zheng, konghou, and zou. It also has a straight neck, a round sound box, and also four strings, along with twelve standards of notes. This model was later developed into the instrument known today as the ruan. The modern pipa is closer to the instrument which originated in Persia (where it was called barbat) and was introduced into China beginning in the late Jin Dynasty (265-420 AD). By the Tang era, the pipa had become popular in the imperial court. It had a crooked neck, 4 or 5 silk strings, and 5 or 6 frets, and was played with a plectrum in a horizonal position. As the ages went by, the crooked neck was replaced by a straight one, the number of frets increased to between 30 and 32, the plectrum was replaced by fingernails and the horizontal playing position was replaced by the vertical (or near-vertical) position. During this time, the five-stringed pipa became lost.

The pipa became a favourite in the Tang Dynasty, during which time Persian performers and teachers were in demand in the capital, Chang'an (which had a large Persian community). Many delicately carved pipas with beautiful inlaid patterns date from this period. Masses of pipa-playing Buddhist semi-deities are depicted in the wall paintings of the Mogao Caves near Dunhuang.

The pipa is referred to frequently in Tang Dynasty poetry, where it is often praised for its refinement and delicacy of tone. Bai Juyi's famous "Pipa Xing" (Pipa Song) describes a chance encounter with a female pipa player on the Yangtze River:

大絃嘈嘈如急雨 : The bold strings rattled like splatters of sudden rain,
小絃切切如私語 : The fine strings hummed like lovers' whispers.
嘈嘈切切錯雜彈 : Chattering and pattering, pattering and chattering,
大珠小珠落玉盤 : As pearls, large and small, on a jade plate fall.
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Repertoire

There are numerous pipa pieces in the common repertoire which can be split into four distinctive styles: 「文」 wen (civil), 「武」 wu (martial), 「大」 da (suite), and 「小」 xiao (solo).

Famous pieces include 《十面埋伏》 Shimian Maifu [Ambushed from Ten Sides], 《夕陽簫鼓》 Xiyang Xiaogu [Flute and Drum at Sunset], 《陽春白雪》 Yangchun Baixue [White Snow in a Sunny Spring], 《龍船》 Long Chuan [Dragon Boat], 《彝族舞曲》 Yizu Wuqu [Dance of the Yi People], 《大浪淘沙》 Dalang Taosha [Big Waves Pushing the Sand], 《昭君出塞》 Zhaojun Chusai [Zhaojun Outside the Frontier] and 《霸王卸甲》 Bawang Xiejia [King Chu Takes Off his Armour].

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New compositions

In the late 20th century, largely through the efforts of Wu Man, Min Xiao-Fen, and other extraordinary performers, Chinese and Western contemporary composers began to create new works for the pipa (both solo and in combination with chamber ensembles and orchestra). Most prominent among these are Terry Riley, Philip Glass, Lou Harrison, Tan Dun, Bright Sheng, Chen Yi, Zhou Long, Bun-Ching Lam, and Carl Stone. [1]

The pipa has also been used in rock music; the California-based band Incubus featured it in their song "Aqueous Transmission," as played by the group's guitarist, Mike Einziger. [2]

Image:Pipa2.jpg

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Performers

Probably the best known pipa player internationally is Wu Man, a virtuoso performer and former student of Lin Shicheng of the Pudong School. Wu received the first Master's degree in the pipa and won the first National Academic Competition for Chinese Instruments. She lives in Boston, Massachusetts and works extensively with Chinese, cross-cultural, new music, and jazz groups.

Other contemporary players include Min Xiao-Fen, Tang Liangxing, Jiang Ting, Gao Hong, Qiu Xia He, Liu Fang, Yang Jing, Ting Ting (Zong Tingting), and Zhou Yi. Beijing-born, London-resident pipa performer Cheng Yu (程玉) performs on a five-string pipa, a revival of a version of the instrument that formerly existed in China before the eighth century AD.

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Interesting facts

The loquat tree and fruit, called pipa (枇杷) in Mandarin Chinese, are named after the instrument, likely due to the distinctive shape of the tree's fruit and leaves, both of which resemble the body of the pipa.

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Recordings

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External links

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Video

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See also

eo:Pipa fr:Pipa ja:琵琶 nl:Pipa ru:Пипа (инструмент) th:ผีผา zh:琵琶

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