Name	Pipa
Classification	*Necked bowl lutes String instruments
Related	*Angélique (instrument) Archlute Balalaika Barbat (lute) Bağlama Biwa Bouzouki Charango Chitarra Italiana Daguangxian Đàn tỳ bà Dombra Domra Dutar Electric pipa Erhu Irish bouzouki Liuqin Lute Mandocello Mandola Mandolin Oud Pandura Pipa Rubab Setar Sitar Surbahar Tanbur Tanbur (Turkish) Tembûr Theorbo Tiorbino Tiqin Topshur Veena Zhonghu }}

The ''pipa'' (, ) is a four-stringed Chinese musical instrument, belonging to the plucked category of instruments (弹拨乐器/彈撥樂器). Sometimes called the Chinese lute, the instrument has a pear-shaped wooden body with a varying number of frets ranging from 12–26. Another Chinese 4 string plucked lute is the liuqin, which looks like a smaller version of the pipa.

The pipa is one of the most popular Chinese instruments and has been played for nearly two thousand years in China. 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.

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 fingers of the right hand from right to left, thus more than one finger can be used at a time striking multiple notes, 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.

Has Five strings.

Development and construction

Prototypes of the ''pipa'' already existed in China in the Qin Dynasty (221 BC–206 BC). At that time, there were two types of ''pipa''. One was straight-necked, with a round sound box constructed from lacquered Paulownia wood, 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 named after Ruan Xian, one of the Seven Sages of the Bamboo Grove. 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 horizontal position. As the ages went by, the crooked neck was replaced by a straight one, the number of frets increased to between 14 or 16, and to 17, 24, 29, or 30 in the 20th century. The 14- or 16-fret ''pipa'' had frets arranged in approximately equivalent to the western tone and semitone, starting at the nut, the intervals were T-S-S-S-T-S-S-S-T-T-3/4-3/4-T-T-3/4-3/4, (some frets produced a 3/4 tone or "neutral tone"). In the 1920s and 1930s, the number of frets was increased to 24, based on the 12 tone equal temperament scale, with all the intervals being semitones. Since then the number of frets has been extended to 29 or 30. The traditional 16-fret ''pipa'' is becoming less common, although it is still used in some regional styles such as the ''pipa'' in the southern genre of ''nanguan''/nanyin. 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, although in the early 21st century it was revived by the Chinese-born, London-resident ''pipa'' performer Cheng Yu, who performs on a modernized five-string ''pipa'' modeled on the Tang dynasty instrument, which she researched and commissioned to be made.

The ''pipa'' became a favourite in the Tang Dynasty, during which time Persian and Kuchan performers and teachers were in demand in the capital, Chang'an (which had a large Persian community). Many delicately carved ''pipa''s 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:

:{| !width=30%| !width=70%| |- |

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

The instrument was imported into Japan during the Tang Dynasty as well as into other regions such as Korea and Vietnam.

Note that the frets on all Chinese lutes are high so that the fingers and strings never touch the fingerboard in between the frets, this is different from western fretted instruments. This allows for a greater control over timbre and intonation than their western counterparts, but makes chordal playing more difficult.

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:

Traditional Chinese	Simplified Chinese	Pinyin	English (translation)
	十面埋伏	Shí Mìan Maífú	Ambushed from Ten Sides
夕陽簫鼓	夕阳箫鼓	Xīyáng Xīao Gǔ	Flute and Drum at Sunset
	阳春白雪	Yángchūn Baíxuě	White Snow in Spring Sunlight
龍船	龙船	Lóngchuán	Dragon Boat
彝族舞曲	彝族舞曲	Yìzú Wúqǔ	Dance of the Yi People
大浪淘沙	大浪淘沙	Dàlàng Táo Shā	Big Waves Pushing the Sand
昭君出塞	昭君出塞	Zhàojūn Chū Saì	Zhaojun Outside the Frontier
	霸王卸甲	Bàwáng Xiè Jiǎ	King Takes Off His Armour
綠腰	绿腰	Lǜyāo	Green Waist
	春江花月夜	Chūnjiāng Huā Yuèyè	Moonlit River in Spring

On top of these traditional melodies, new pieces are constantly being composed, most of which follow a more Western structure

Use in contemporary classical music

In the late 20th century, largely through the efforts of Wu Man, Min Xiao-Fen, and other 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.

Performers

In the 20th century, two of the most prominent ''pipa'' players were Sun Yude (孙裕德; 1904-1981) and Li Tingsong (李庭松; 1906-1976). Both were pupils of Wang Yuting (1872–1951), and both were active in establishing and promoting ''guoyue'' (国乐; literally "national music"), a combination of traditional regional musics and Western musical practices. Sun performed in the United States, Asia, and Europe, and in 1956 became deputy director of the ''Shanghai minzu yuetuan'' (上海民族乐团; Shanghai Folk Orchestra). As well as being one of the leading ''pipa'' players of his generation, Li held many academic positions and also carried out research on ''pipa'' scales and temperament. Wei Zhongle (卫仲乐; 1908 or 1909-1998) played many instruments, including the ''guqin''. In the early 1950s, he founded the traditional instruments department at the Shanghai Conservatory of Music.

Lin Shicheng (林石城; 1922-2006), born in Shanghai, began learning music under his father and was taught by Shen Haochu (沈浩初; 1899–1953), a leading player in the Pudong (浦东) school style of ''pipa'' playing. He also qualified as a doctor of Chinese medicine. In 1956, after working for some years in Shanghai, Lin accepted a position at the Central Conservatory of Music in Beijing. Liu Dehai (刘德海; b. 1937) also born in Shanghai, was a student of Lin Shicheng and in 1961 graduated from the Central Conservatory of Music in Beijing. Liu also studied with other musicians and has developed a style that combines elements from several different schools.

Prominent students of Lin Shicheng include Liu Guilian (刘桂莲, b. 1961), Wu Man (吴蛮, b. 1963) and Gao Hong (高虹, b. 1964). Wu, who is probably the best known ''pipa'' player internationally, received the first-ever master's degree in ''pipa'' and won China's first National Academic Competition for Chinese Instruments. She lives in San Diego, California and works extensively with Chinese, cross-cultural, new music, and jazz groups. Shanghai-born Liu Guilian graduated from the Central Conservatory of Music and became the director of the Shanghai Pipa Society, and a member of the Chinese Musicians Association and Chinese National Orchestral Society, before immigrating to Canada. She now performs with Red Chamber and the Vancouver Chinese Music Ensemble. Gao Hong graduated from the Central Conservatory of Music and was the first to do a joint tour with Lin Shicheng in North America. They recorded the critically acclaimed CD ''Hunting Eagles Catching Swans'' together.

Other contemporary players who have introduced the ''pipa'' to North America, Europe, or Japan include Min Xiao-Fen, Zhou Yi (周懿), Yang Wei (楊惟), Guan Yadong(管亚东), Tang Liangxing (湯良興), Jiang Ting, Qiu Xia He, Liu Fang (劉芳), Yang Jing(楊靜), Ting Ting (Zong Tingting), Cheng Yu, Jie Ma (马捷), and Changlu Wu(吳长璐).

Prominent ''pipa'' players in China include Yu Jia (俞嘉), Wu Yu Xia (吳玉霞), Zhang Qiang (張強), Fang JinLung (方錦龍), and Fan Wei (樊薇).

Use in other genres

The ''pipa'' has also been used in rock music; the California-based band Incubus featured one, borrowed from legendary guitarist Steve Vai, in their 2001 song "Aqueous Transmission," as played by the group's guitarist, Mike Einziger. The Shanghai progressive/folk-rock band Cold Fairyland, which was formed in 2001, also use ''pipa'' (played by Lin Di), sometimes multi-tracking it in their recordings. Australian dark rock band The Eternal use the ''pipa'' in their song 'Blood' as played by singer / guitarist Mark Kelson on their album 'Kartika'.

Electric pipa

The electric pipa was developed in the late 20th century by adding electric guitar-style magnetic pickups to a regular acoustic ''pipa'', allowing the instrument to be amplified through an instrument amplifier or PA system.

See also

Traditional Chinese musical instruments

Biwa

Lute

References

Further reading

''New Grove Dictionary of Music and Musicians'', second edition, edited by Stanley Sadie and John Tyrrell (London, 2001).

External links

An article on the historical development of pipa

The Pipa on the Heilbrunn Timeline of Art History, The Metropolitan Museum of Art

Youtube music videos: Pipa music performed by renowned pipa masters from China, Hong Kong and Taiwan

Category:Chinese musical instruments Category:Necked bowl lutes

cs:Pipa de:Pipa es:Pipa (instrumento) eo:Ĉinbivo (Pipa) fr:Pipa (instrument) id:Pipa (alat musik) it:Pipa (strumento musicale) ms:Pipa nl:Pipa (muziekinstrument) ja:琵琶#中国の琵琶 pl:Pipa pt:Pipa (instrumento musical) ru:Пипа (музыкальный инструмент) simple:Pipa sl:Pipa (glasbilo) fi:Pipa th:ผีผา zh:中國琵琶

name	Liu Fang
background	non_vocal_instrumentalist
birth date	May 10, 1974
instrument	pipa and guzheng
genre	Chinese music from the classical tradition / Contemporary classical music / World Music
occupation	Soloist
years active	1985-''present''
website	www.philmultic.com }}

Liu Fang () (born 1974) is one of the most prominent ''pipa'' players in the world. Born in Kunming in the Chinese province of Yunnan, she began playing the ''pipa'' at the age of 6. Her first solo public performance was at the age of 9. In 1986, at age 11, she played for Queen Elizabeth II. Her studies at the Shanghai Conservatory of Music broadened her musical range and allowed her to study the ''guzheng''. At the age of 22, Liu Fang immigrated to Canada and is now a Canadian citizen, currently residing in Montreal. The decision to move to Quebec allowed her virtuosic playing to reach a wider international audience. Since 1999, she has performed hundreds of solo concerts featuring Chinese traditional and classical music on her two solo instruments - pipa and guzheng. Her profile has risen due to her rich and deeply spiritual performances as well as a wide ranging repertoire that features music from Chinese classical and folk traditions (including pieces rarely heard) as well as contemporary works from both east and west. Described in the media as the "empress of pipa" (''L'actualité''), "divine mediator" (World), "the greatest ambassadress of the art of the pipa" (La presse), Liu Fang is known as “possessing virtuoso technique, grace and a unique empathy toward the music she plays – whether it is a traditional and folk tune or a modern Western composition” (All Music Guide). "She has an extraordinary focused, poised presence in her manner and her playing. In a lesser player this is just a trained formality; the body of material and techniques for her instruments is extremely highly developed, passed down through centuries. But Liu Fang’s total devotion to her playing has moved her beyond perfect execution to the creativity and flexibility that marks a true musician."(in the ''fRoots'' Magazine, 06.2006).

Apart from her numerous solo concerts, Liu Fang has also many intercultural collaborations in terms of "Silk and Steel Projects", where "Silk" represents the traditional culture of China whereas "steel" is a metaphor for modernity and western culture. Her last album entitled "Silk Sound" (Le son de soie) featured musical dialogues with artists from three different continents and was awarded the grand prize of L'Académie Charles Cros, the French equivalent of the US Recording Academy. Back in 2001, Liu Fang was the only musician to receive the prestigious "Future Generation Millennium Prize" awarded by the Canada Council for the Arts to three artists of different disciplines under 30 years of age. The words of the jury summed up her achievements rather succinctly: "Liu Fang's mastery of the pipa and the guzheng has established her international reputation as a highly talented young interpreter of traditional Chinese music. She aspires to combine her knowledge and practice of eastern traditions with western classical music, contemporary music and improvisation, thereby creating new musical forms, uniting different cultures and discovering new audiences."

Liu Fang has made a number of national and international radio and TV appearances, produced several CDs. Liu Fang was invited as one of the featured artists by BBC World Service for the concert on November 7, 2003 dedicated to World AIDS Day. She performed at the 60th anniversary of UNESCO in Paris on November 16, 2005, and has also been honored by the government of Canada. She has performed with orchestras, string quartets and various instruments the works of many contemporary composers, including R. Murray Schafer, Tan Dun, Philip Glass, Janet Maguire, Ian Wilson, José Evangelista, Zhou Long, Melissa Hui, Diego Luzuriaga, Chen Yi, Toshiyuki Hiraoka, Yoshiharu Takahashi, David Loeb, Hugue Leclair, Simon Bertrand and Chantale Laplante, to mention a few, and has performed frequently with guitarist Michael O'Toole and the violinist Malcolm Goldstein.

Discography

'''Albums solo :'''

''The soul of pipa, vol. 3'' : Pipa Music from Chinese folk traditions, Philmultic, 2006

''Emerging Lotus'' : Chinese traditional guzheng music, Philmultic, 2005

''The soul of pipa, vol. 2'' : Chinese classical Pipa Music: from the ancient to the recent, Philmultic, 2003

''The soul of pipa, vol. 1'' : Chinese Pipa Music from the classical tradition, Philmultic, Canada, 2001

''Chinese Traditional Pipa Music'' : Oliver Sudden Productions Inc, Canada/USA, 1997

'''Collaborations :'''

''Along the Way - Duo pipa & violin'' : Philmultic, 2010

''Changes - Duo pipa & Guitar'' : Philmultic, 2008

''Le son de soie'' : Accords-Croisés/Harmonia Mundi, Paris, 2006

''Mei Hua - Fleur de prunier'' : ATMA Classique, Canada, 2004

''Arabic and Chinese music'' : Liu Fang et Farhan Sabbagh, Philmultic, 2000

''Musique chinoise'' : Solo, duo, et avec orchestre de chambre, Philmultic, 1999

Notes

External links

Liu Fang at CBC TV

Liu Fang live at Dutch TV Vrije Geluiden

Liu Fang Interview at allaboutjazz.com

Liu Fang's official site

Category:1974 births Category:Living people Category:People from Kunming Category:People from Yunnan Category:Chinese musicians Category:People's Republic of China musicians Category:Guzheng players Category:Pipa players Category:Chinese emigrants to Canada Category:Canadian people of Chinese descent Category:Canadian musicians of Asian descent Category:Contemporary classical music performers Category:Musicians from Montreal

de:Liu Fang es:Liu Fang fr:Liu Fang ko:리우 팡 it:Liu Fang nl:Liu Fang ja:劉芳 no:Liu Fang pl:Liu Fang pt:Liu Fang ru:Лю Фан fi:Liu Fang th:หลิว ฟาง zh:劉芳 (音樂家)