A Research On The Pipa Art Of The“Northern Clique”in The Ming Dynasty

Pipa is the crystallization of the integration of native and foreign musical instruments.It has a history of more than2,000 years.In the history of more than 2,000 years,each stage of the development of Pipa is closely related to the process of Chinese folk culture,history,culture and social culture,which reflects the changing ideological and aesthetic needs of people in social development.From the Qin and Han Dynasties to the present,there are four stages in the development history of Pipa: the generation stage,the development stage,the maturity stage and the transformation stage.Maturity period is the period of Han,Wei and Six Dynasties,which is the initial stage of cultural collision between native Pipa and foreign pipa;development period is the period of Tang,Song and Yuan Dynasty,which is the integration of native Pipa and foreign pipa,and the localization transformation is completed at this stage;maturity period is the period of Ming and Qing Dynasty,when the pipa is similar in shape,holding way and playing method to modern times,it completely becomes me.The period of change is from the Republic of China to the present.Since the 20 th century,the music exchange between China and the West has flourished,and the forms and styles of Pipa performance have diversified.The development of the Pipa School began in its mature stage and was divided into the "North-South Sect".The representatives of the North Sect were "Wang Junxi of Zhili"and the South Sect were "Chen Mufu of Zhejiang".In the later stage of development,the Pipa School was divided into the Pudong Sect,the Pinghu Sect,the Wuxi Sect,the Chongming Sect,the Wang Sect and the Shandong Sect.Only the Shandong Sect developed in the northern part of China.At this time,the development of the Pipa was "prosperous in the South ?The Northern Pipa of Ming Dynasty refers to the Pipa art mainly inherited from the Zhili area in northern China,where Zhili refers to the Beijing Normal University(now Beijing)as the main center,including Henan,Shandong,Hebei,Shaanxi,Anhui and other regions.During the period from Zhengde to Jiajing,the northern Pipa musicians in the Ming Dynasty were active.They were folk performers,court clergy musicians,entertainment geishas or famous family geishas,literati wives and concubines,and even those who were good at playing Pipa among court officials.The repertoire mainly includes three aspects: the former dynasty's ancient music,such as "Nagee" and "Yu Lun Gown";self-innovative music,such as "Chuhan","Parrot" and "Jade Tree Flower";the adaptation of piano music,such as "Yangguan","Flying Flower Triple" and "Hu Gun Eighteen Pats".And the main way of performance is "clear play",that is,solo in the present sense.The artistic and cultural characteristics of the Northern Pipa in the Ming Dynasty conform to the development of social culture in the Ming Dynasty,the artistic lifestyle,the secular entertainment mode and the leisurely and elegant and delicate aesthetic taste of the people in the Ming Dynasty.