A Research On Teaching Practice Of Pipa Under The Guide Of Musical Aesthetics Abstract

With a long history of more than2,000years, pipa art is an adherence of bothChinese traditional aesthetics in music and its traditional culture. Its aesthetic idealhas been influenced by the spirit of richness of Confucianismand emptiness andintelligence of Taoism, all of which make a contribution to harmonious balancesbetween beauty and kindness, emotion and reason, cognition and intuition, and menand nature. Tradition has made a great impact on pipa music’s birth and evolution. Astime advances, the music develops with diversification, which is the outcome of boththe heritage of tradition and the absorption of exotic elements, and it tends to beperformed professionally. However, the pipa art, as one of national arts in tradition,remains its unique aesthetic features. During the process of pipa teaching, everyteacher should considers about how to make students build up a correct aesthetic ideaof pipa music and use it correctly and how to improve their aesthetic ability.In this thesis there are four chapters. Chapter One is an introduction of domesticresearch status of pipa art and the significance of this thesis. In Chapter Two, based onthe study of the impact made by Chinese traditional aesthetics “harmony” on thedevelopment of pipa music, the author expatiates five issues, including differentmeaning of “harmony” in Confucianism and Taoism, andbalances between beauty andkindness, emotion and reason, cognition and intuition, and men and nature.Combinedwith the change of the composition of pipa instrument and its music, Chapter Three ismainly on the explanation of features of the Chinese traditional aesthetics andgives a brief description three beauties, including the beauty of artistic conceptionwith feeling and setting happily blended, the beauty of voice with combination of lineand point, and the beauty of formwith combination of softness and hardness. ChapterFour mainly elaborates the employment of aesthetic ideas on teaching practice of pipaperformance and discusses the issue that a good perceptual form in auditory is thepremise and basis to show the beauty of music, which can be fully presented only bythe combination with rich spiritual connotation.