On The Study Of The Vietnamese Ty-ba's Historical Origin And Comparative With Chinese Nanyin Pipa

Apart from the preface and the conclusion, the thesis is divided into three chapters and the last part is the table of contents and references. In the preface, the purpose and the value of the subject, emphasizing that Pipa rooted from West Asia through the Silk Road and then imported into China, according to the research results of the scholars, the research achievements which are highly appreciated. However, in the comparison of the Chinese Pipa with Vietnamese one, in the context of history change, there hasn't been a detailed and systematic research on the appearance, structure of the Pipa in the East Asia in general and in Vietnam in particular. Therefore, the thesis helps Chinese musical researchers have deeper understanding about Vietnamese music. In addition, in the thesis, many historical evidences for Chinese - Vietnamese music exchange. I hope that the thesis will be the valuable evidences for the Chinese Academia. The methodology the author uses in the thesis is the combination between proved documents of musical history and practical surveys of Chinese and Vietnamese Pipa which helps the study of Vietnamese traditional Pipa origin.Chapter 1: Through studying the development of Chinese Pipa, studying history and changes of Vietnamese's frame. Chapter 2: Introduce the cases of playing Vietnamese Pipa and typical songs played with Pipa in the 20^th century. In addition, the various use of Pipa in many places as well as the Vietnam's traditional art is also presented. Moreover, the thesis gives a brief presentation of Vietnam's folk music and the traditional opera. The way to play Vietnam's traditional Pipa is simply introduced in this chapter.Chapter 3: In the feudal regime, Vietnam under the rule of Huang dynasty, the culture and society have been influenced from China. This results in the great impact on the appearance and the first development of Pipa.