| Pipa has been developed in China for more than two thousand years,leaving behind countless moving melodies,and generations of composers in different social and cultural contexts have created a classical work with unique characteristics of the times,which has been widely circulated and deeply rooted in people’s hearts.With the advent of reform and opening up and the innovation of artistic aesthetics,the compositions of contemporary composers have become more abundant and diversified.Since ancient times,poetry and music have never been separate in China,so even in contemporary times,when everything is constantly updated and changing,there are still a large number of composers who use ancient poems or literary works as compositional material,giving birth to a number of excellent and classic pipa works.In the process of learning pipa,the author found that the female figures in ancient literature are presented in not a few contemporary pipa works,and occupy an important position in professional pipa education and social pipa examinations,and they are popular among pipa learners and enthusiasts for their powerful musical expression and rich performance skills that bring out the unique female figures in ancient China.This paper analyzes the unique artistic expression,musical creativity,and individuality of these two works,using the pipa solo piece "v.-A feeling of reading the Tang poem "Pipa Xing"" and the concerto piece "Hua Mulan" as examples,in order to explore the application of female images from ancient literature in the creation of pipa works,and further consider how to better highlight the local characteristics of Chinese women in pipa performance.In this way,we explore the use of female figures from ancient literature in the composition of pipa works,and further consider how to better highlight the local characteristics of Chinese women in pipa performance so that listeners can appreciate the art of pipa and Chinese folk music culture from a more unique perspective. |
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