The Reaserch Of Pipa`s Temperament

Pipa, as Chinese traditional plucked string instrument, has a long history. Ancient pipa is divided into two kinds: a round body straight neck with four-string twelve pillars is Chinese native pipa, called Qin Pipa or Qin hanzi. The other kind is a bend neck, pear-shaped foreign Pipa, which is introduced from the Western Regions, including the four strings Pipa and the five strings Pipa. The native Pipa has become another instrument, which is called "RuanXian" in Tang Dynasty. And the modern 6 Xiang 24 Pin Pipa is based on the bend neck pear-shaped Pipa that is come from the Western Regions.In this paper, the main contents are as follows: the evolution of the Pipa`s shape, which is from the 4 Xiang in Tang Dynasty to 4 Xiang 10 Pin in Ming and Qing Dynasties, and to the modern Pipa with 6 Xiang 24 Pin and so on; the variation of tune, which is from Suzhipo 7 tones, to 84 tones of Pipa, and to YanYue 28 tones in Tang Dynasty; the utilization of temperament, from the early Circle-of-fifths system, to the latter Equal temperament tendency, and to the trace of Circle-of-fifths system, the legacy of Just Intonation, and the aroma of Three-quarters tone (neutral tone)( the 7th pin of the Pipa in Ming and Qing dynasty )etc; the inheritance and development of Pipa spectrum, including the Dunhuang Pipa spectrum, which is the earliest Pipa spectrum in the Changxing 4th year of the later Tang Dynasty and Huaqiuping Pipa spectrum in Ming and Qing Dynasty, etc.Since the near modern period, the research of Pipa has been focusing on development and evolution of the ancient Pipa, the major Chinese modern Pipa schools, performers and performance skills, etc. But the study of Pipa`s temperament is not concerned enough. This thesis uses the method of literature review and fieldwork to obtain research materials; and applies the methods and methodology in the disciplines of Music Temperament, Music History, and Music Instruments to conduct the research. Regarding to the Ruanxian, Guqin, the Japanese Pipa (from the Tang Dynasty) and the Fujian Na Pipa (China) from the introduction of Western Asia Pipa to the Chinese modern Pipa. The purpose of the dissertation is to clear the skeleton of Pipa's temperament in near modern period in accordance to the Temperament, Tone, Instrument, and Pipa spectrum, so as to promote the development of Pipa Arts.Firstly, this thesis reviews the evolution history of the Pipa in China, and analyses the temperament and tones of Suzhipo Pipa, and Tang Dynasty Pipa which is the use of Circle-of-fifths System. The music theory calculation (28 tones in Tang Dynasty and 84 tones of Pipa) is presented more than music practice. Secondly, it is pointed out that the old 7th Pin in the 4 Xiang 10 Pin Pipa or the 4 xiang 12 Pin Pipa tends to be neutral tone according to Ruanxian. By measuring and analysing each pillar of modern Pipa and the Fujian Na Pipa, it is found that the 4th Xiang and the 10th Pin of modern Pipa are similar to the 3rd Xiang (386 cents, or Just intonation major third) of Fujian Na Pipa. And some other Xiang and Pin are closed to the semitone of Circle-of-fifths System (90cents), while some are closed to the semitone of Equal temperament (100cents). Consequently, the author holds the viewpoint that the temperament of Chinese modern Pipa not only has tendency of Equal temperament and the trace of Circle-of-fifths System, but also gains the legacy of Just Intonation. It`s possible that the Just intonation major third is influenced by the 11th Hui of Guqin. Finally, in order to further confirm the author's measurement and calculatation of modern Pipa, the paper reveals the influence of Guqin on the near modern Pipa by contracting the fingering symbol between Guqin and Pipa. What`s more, the thesis provides relevant Pipa music spectrum to demonstrate the modern Pipa`s temperament. Moreover, it lists specific music spectrum to state out the temperament changing of the modern performance skill.