古典乐器-中英文对照-琵琶

Abriefhistoryofthepipa,atraditionalChinesemusicinstrumentThepipa(pronounced“pee-paa“)isafour-stringedlute,oneoftheoldestChinesemusicalinstrumentswithover2023yearsofhistory.ThetermpipaconsistsoftwoChinesecharacterssymbolizingtwoplayingtechniques(denotedas“Tan“and“Tiao“today)whiletheirpronunciationsp”iandp”aareimitationsofthesoundsproducedaccordingly.ThelatterfactishowevernotoftenNotementionedintheliteraturesaboutthepipa(see )NoteThehistoricaldevelopmentofthepipahasbeenaprogressiveprocessfromitsverybeginningwithfewmajorfusions.TheearliestChinesecenturyBC.Forinstance,XiLiuoftheEasternHanDynasty(25-220AD)describedinhisbook,TheDefinitionofTerms-OnMusicalreferredoriginallyforthetwomovements,i.e.pluckingthestringsforwardsandbackwards,respectively.Itiscommonlyknownnowthattheterm“pipa“usedtobethegenericnameforallpluck-stringinstrumentsoftheancienttimes.Forinstance,intheQinDynasty(222-207BC),astraightneckandaroundsound-bodyplayedhorizontally,whichisconsideredoneofthepredecessorsofthepipa.IntheprefacetohisverseOdetoPipa,XuanFuoftheJinDynasty(265-420AD)wrote:“...thepipaappearedinthelateQinperiod.WhenthepeoplesufferedfrombeingforcedtobuildtheGreatWall,theyplayedtheinstrumenttoexpresstheirresentment“.BytheHanDynasty(206BC--220AD),theinstrumentdevelopedintoitsformoffourstringsandtwelvefrets,pluckedwithfingernailsandknownaspipaorqin-pipa(seeFig.1[1].IntheWesternJinDynasty(256-316),theqin-pipawasnamedafterthefamousscholar,oneof“SevenSagesoftheBambooGrove“,RuanXian,whowasagreatmasteronthisinstrument.(NotethatJiKong,grandmasterofthesevenstringedzitherqin,wasamongthesevensageswhooftenmetformusicandwine).Theinstrumenthasbeentothisdaycalledtheruanwhereasthenamepipaspecificallyreferredtoanewversioninthesamefamilyofinstruments,whichdevelopedasfollows:Fig.1:Historicaldevelopmentofthepipa,aChinesefourstringedlute-anillustrationofthetimeevolutionfrom“qin-pipa“tothemodernpipathroughtheinfluenceofNote“hu-pipa“(Seethe ontherightpanelfordetailedNoteexplanationofthemajorfusion).DuringtheNorthernandSouthernDynasty(420-589AD),asimilarneckandfourorfivestringswasintroducedthroughtheSilkRoadfromCentralAsia,knownastheHuPipa(Hustandsfor“foreign“inChinese),whichwasplayedhorizontallywithawoodenplectrum(seethepicturebelowfortheTangDynastypipaplayer).DuringtheearlyTangDynasty,foreignmusicbecameverypopular.AfusionoftheoriginalChinesepipaandthe“Hupipa“tookplacesuchthatthetowardeefegyee1]dontherightpanel).Meanwhiletheplayingmethodhasbeendevelopedandrepertoireincreased.Oneofthegreatestdevelopmentswasthatthelefthandbecametotallyfreebyholdingtheinstrumentvertically,i.e.thepiparestsonthethighoftheinstrumentalistinanuprightposition,andwasplayedverticallywithfivefingersoftherighthandinsteadofhorizontallywithaplectrum(seethephotoatthetopofthis).DuringtheTangDynasty(618-907),thepipawasoneofthemostpopularinstruments,andithasmaintaineditsappealinsoloaswellaschambergenreseversinceAnotherbigchange(fusion)occurredtothepipaduringthefirsthalfofthelastcentury:thetraditionalpipawithsilkstringsandpentatonictuninghasdevelopedintothemodernpipawithsteelstringsandchromatictuning(byincreasingthenumberoffrets).Themoderninstrumentishalf-pear-shaped,withashort,bentneck,andhas30fretswhichextenddowntheneckandontothesoundboard,givingawiderangeandacompletechromaticscale.TheusualtuningisA-E-D-A(La-Mi-Re-La).Sinceearlylastcentury,steelstringsbegantobeusedbysomemusicianswhilemoststillkeptusingsilkstrings.Sincethe1950s,themakingofthepipahasbecomestandardizedinmeasureandthestringsaremadeofsteelwrappedwithnylon.Thususingtherealnailbecomesalmostimpossible.Instead,alittleplectrum(orfakenail)isattachedtoeachfingeroftherighthand.Theplectrumsareusuallymadeofturtleshellorspecialplastics.Notationforthepipacombinessymbolsforpitch(Kung-ch”esystem)withabbreviatedcharactersforspecialfingertechniques.Today,asimplifiedversionofmusicscoresarecommonlyusedinwhichnumbersrepresentingpitchesandsymbolsrepresentingfingertechniquesareused.Meanwhile,thestandardWesternmusicscorehasbeenusedincreasinglybecauseithasadvantagesinensemblepiecesandinparticularforpipaconcertosTherewasahugerepertoireofpipamusicinChinesehistory,particularlyduringtheTangdynasty.Butmostofthepieceswerelost.Fortunately,therearepreciouspipapieceshandeddownfromonegenerationtoanotherbyindividualartistsandscholars.SomepieceshavebeenpreservedinJapanandothermusicalscoreswerediscoveredalongtheSilkRoadinGansuProvince,China,around1900.Thesemusicalnotations,knownastheDunhuangscoresfromtheTangDynasty(7-9thcentury)triggeredgreatconcernandinterestwithinChinaaswellasabroad.However,theyremainedamysteryuntiltheearly1980s,whenthescholar,Prof.YeDongfromtheShanghaiConservatoryofMusic,successfully“decoded“25ofthepieces.Thebeautyandeleganceofthesepieceshasthusfirstbeenrevealedtothepublicafterhavingsleptforathousandyears.PipamusichasbeenlovedbyChinesepeoplethroughthecenturies.DuringtheMing(1368-1644)andQing(1645-1911)dynasties,variouspipaschoolswithdifferentstylesflourishedintheSouth,centeredinWuxi,SuzhouandShanghai,andtheNorth,centeredinBeijing.Thedevelopmentoffingertechniquesforbothhandsachievedahighstandardbythemastersfromeachschool.Thepresentdaypipatechniquesaremostlythefusionofthosedifferentschools.NowthepipaisoneofmostpopularinstrumentsinChina.Manyofthecompositionsthatmakeupthetraditionalrepertoire,whichwerehandeddownfromgenerationtogenerationthroughindividualartistsandscholars,datebackhundredsofyears,whileothersarepartofabodyofcompositionsthataredynamicandgrowing.Inmorerecenttimes,composershaveexploredthepossibilitiesforthepipaandotherChineseandWesterninstruments,evenwithorchestra.Nowadays,thereareanumberofcelebratedpipaconcerti.Theplayingtechniqueconsistsoftherighthandfingerspluckingthestringsandthelefthandfingerstouchingthestringsinavarietyofwaystocreatemelodies,ornamentsandspecialeffects.Thefingersthatpluckthestringsmoveoutwards,justtheoppositetoguitartechniques.Thefretsareprettyhigh,whichallowsthestringtobepushed,twisted,andpressed.Thereareover60differenttechniquesthathavebeendevelopedthroughthecenturies.Thepipa”stechniqueischaracterizedbyspectacularfingerdexterityandvirtuosicprogrammaticeffects.Rolls,slaps,pizzicato,harmonics,andnoisesareoftencombinedintoextensivetone-poemsvividlydescribingfamousbattlesorotherexcitingscenes,suchastheAmbush(seethedemovideo#2below).Thistypeiscalled“wuqu“(martialstyle).ThisexampledescribesthedecisivebattlefoughtinthesecondcenturyBCbetweenChu(XiangYu)andHan(LiuBang).Theinstrumentisalsocapableofmorelyriceffects,inthecategoryof“wenqu“(civilstyles)suchasthefamoustunes“FeiHuaDianCui“(Swirlingsnowdecoratestheevergreen,seethedemovideo#1below)orSaiShangqu(Songsfromtheothersideoftheborder).Theformerusesasceneinnatureasmetophortodescribehumanfeeling.ThelatterissaidtorepresentthesorrowfulsongofaHandynasty(206BC-220AD)noblewoman,whowascompelledforpoliticalreasonstomarryabarbarianprince.Thisstoryappearsinseveralversionsconnectedwiththeoriginofthepipa.Therearealsoalotofwrittentextsandfamouspoemsaboutthepipamusicplayedbyvirtuosoperformersinhistory.Forinstance,thefollowingcommentscanbefoundinthetextsfromtheTangDynasty(618-907)describingtheintensityoftheAmbushplayedbyartistsofthattime:“...asifthousandsofwarriorsandhorsesareroaringonthebattlefield,asiftheearthistornandtheskyisfalling“.Inhispoem,thePipaSong,BaiJuyi,oneoftheleadingpoetsintheTangDynasty,describedvividlythepipamusicperformedbyanartist:“...Thethickerstringsrattledlikesplattersofsuddenrain,thethinneroneshummedlikeahushedwhisper.Togethertheyshapedstrandsofmelody,likelargerandsmallerpearlsfallingonajadeplate.“中文比照琵琶艺术的进展简史“琵琶”之名是古人奇异地结合音、形、意的造字手法产生出来的，为汉语中特有，并非外来词。其最初是对全部类似的弹拨乐器的指称。有202325--220者刘熙在《释名》一书