Study On The Techniques Of Expression In Liu’s Pipa Solo

The prosperity of diversified art forms is a key to a flourishing artistic environment. In the new year, theory of Pipa art and its playing, teaching and performance guidance, created by Mr. Liu Dehai, inherited the best parts of Chinese culture and brought forth the fresh from the old. Consequentially, a new style of Pipa performance has been created by the exclusive efforts by Mr. Liu. The author of this essay has gone through these years’ comments upon the performing techniques of Mr. Liu from different scholars, drawn conclusions from the unique perspective of the author, studied the techniques, theories, overtone motions and music effects that have not been discussed over and finally discovered the features and summed up the effects of the Liu art form, with the author’s individual points of view attached and embedded.This essay consists of the summary, three chapters and the conclusion. The first chapter introduces the five traditional Pipa arts and the creator of Liu’s Pipa art form, Mr. Liu Dehai. The author manages to discover the conjunctions among Liu’s Pipa art, Confucianism, Taoism, Harmony Thought and outbound philosophical ideals and has them all elaborated and teased in this chapter. The second chapter talks about the innovations in Liu’s Pipa performing by reviewing Liu’s performing techniques of both hands. The third chapter sets eyes on the processing of musical elements, the creation of emotions, the controlling, the innovation of acoustics accompaniment and the enrichment of overtone motions, in order to demonstrate the features of context building in Liu’s form of Pipa art.