If you already have a pipa in your hand, you'd better find a pipa teacher. Pipa is not a whistle, and it can't be explained clearly in one or two sentences. Sometimes the pictures and texts are not enough, and the sound and shape are integrated. It may not be possible for you to fully grasp it. Many things can only be understood but not expressed.
So, I can’t find the specific playing method of Pipa
The following paper will increase your interest in Pipa and also give you an overview of how to play Pipa:
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Music is rich because of poetry, poetry is elegant because of music
——A brief discussion on the mutual integration of Tang poetry and pipa art
Abstract: Pipa is ancient and representative The national musical instrument has been inextricably related to literature since ancient times. This relationship is mainly reflected in the integration of Tang poetry and pipa art. This article first analyzes the reasons for the integration of Tang poetry and Pipa art, and then expands it into two parts: first, the performance of Tang poetry on Pipa art; second, the performance of Pipa art on the content of Tang poetry. Through these two aspects of discussion, we can draw the conclusion that "music has rich rhyme because of poetry, and poetry has elegance because of music."
Keywords: literature; music; Tang poetry; pipa art; blending
Literature and music are two arts that can exist independently. Literature uses language as a carrier and gives people a rich emotional experience through vision; music appeals to people's auditory organs, thus giving people aesthetic enjoyment and pleasure. However, these two different arts, which rely on vision and hearing respectively, have always been inextricably linked, and this connection was particularly obvious in ancient times.
Musicology divides music into two categories: vocal music and instrumental music. Looking at the entire development history of ancient Chinese music, ancient Chinese instrumental music was more developed than vocal music. From the simple stone instruments recorded in "Shangshu" in "Striking stones to pull stones, and hundreds of beasts dancing" to the complex and exquisite pipa performance of "big beads and small beads falling on jade plates" described by Bai Juyi, Chinese classical national instrumental music has experienced a period of development. The development process from simple to complex, from low-level to high-level. It must be pointed out that this development process is closely related to literature. Literature, as a carrier, records the development of instrumental music; and literature not only records this development, but is also a powerful driving force, playing a special and important role in the development, enrichment and perfection of national instrumental music. and important role.
Throughout the entire history of the integration of Chinese classical literature and national instrumental music, the pipa is undoubtedly a protagonist. This blending relationship is mainly reflected in the pipa and Tang poetry, which are very typical ancient Chinese literary styles. The reasons can be summarized into the following four aspects:
(1) The prevalence of Yanle in the Tang Dynasty
The Tang Dynasty was the heyday of the development of culture and art in China's feudal society. During the Tang Empire, due to the development of music itself, the prosperity of society and the attention of the rulers, the palace music, which mainly consisted of songs and dances, became the bulk of music at that time, which was also far ahead in the field of world music at that time. of. According to "Tongdian? Zuobuqi" records: "Zuobuqi is Yan music, which is mainly composed of pipa, so it is called Pipa music." ① It can be seen that pipa was the dominant and most popular instrument among the Yan music bands at that time, and it was a large-scale instrument. The songs, dances and music in music and dance all use the pipa as the main instrument. The pipa flourished along with Yan music, and became an elegant and popular musical instrument from the palace to the people. In the Jiangling generation, there was a saying that "pipas were more popular than rice cookers, and there were more cuosuke than crucian carp"② degree. As a result, pipa music ushered in its first peak in the history of development in the Tang Dynasty.
“Literature originates from society, and social life is the only source of literature.” ③ In the Tang Dynasty, a heyday of music, literature, as a reflection of social life, must regard music as its important creation. material. In terms of literary genres, poetry, as the bulk of literature in the Tang Dynasty, naturally became the most important, broadest and most wonderful carrier for the musical art of pipa.
(2) The high musical literacy of the literati in the Tang Dynasty
In addition to the court music of the Tang Dynasty, the literati music of the Tang Dynasty was also a very important social music component. In addition to possessing superb literary qualities, many literati in the Tang Dynasty were also generally fond of music, playing musical instruments, or singing and singing. Naturally, there are also some masters in music among them. The poets Wang Wei and Liu Xiyi are masters of pipa playing. "Yulunpao" composed and performed by Wang Wei has become a famous pipa song that has been passed down through the ages. Out of their deep love for the pipa, a musical instrument, literati were bound to express it in their poems. In addition to the literati's own entertainment, raising prostitutes is another important social and cultural foundation for the development of literati music. The leisurely life of literati was influenced by the singing and dancing of domestic prostitutes, and it would inevitably play a role in their poems. Therefore, Pipa naturally became associated with Tang poetry.
(3) The characteristics of pipa music itself
From the content point of view, traditional pipa music is divided into two categories: literary music and martial arts music. The so-called pipa music generally refers to beautiful and lyrical melody, gentle rhythm, and emphasis on the use of techniques such as pushing, pulling, chanting, and rubbing with the left hand. The music may express the delicate inner emotions or depict the natural scenery. Representative music such as "Spring River Flowers and Moonlight Night" , "Flying Flowers and Spotted Green".
Wuqu, on the other hand, is a piece of music with intense emotions, majestic power, complex and changeable rhythms, and dramatic performance. It focuses on the powerful performance skills of the right hand and expresses strong atmosphere and emotions. Representative music such as "Ambush from Flying Daggers" and "Big Waves on the Sand" wait. Whether it is literary or martial arts, it can express a certain plot or story. It can be seen that the traditional pipa music has rich expressiveness and profound connotation that can be savored carefully. This feature can be considered as the literary nature of traditional Pipa music.
Let’s look at the sound and color of the pipa instrument. Pipa literary music often uses soft and soothing sounds and colors to express a fresh, delicate or sad emotion; martial arts is broad-minded and bold, which can create an ups and downs and a powerful situation. This coincides with the graceful and bold artistic conception of Tang poetry.
Due to the literary characteristics of pipa music itself and the unique sound and color characteristics of the pipa instrument, it is possible and feasible for pipa music to express Tang poetry in the form of music.
(4) The traditional inheritance of "singing poems to music" ④
From the origin of art, songs and poems are originally one. The earliest ones such as "The Book of Songs", all 300 poems can be stringed songs; "Chu Song" originated from the primitive songs and dances of the Chu region; Han and Wei Yuefu were also the music and dance of the time. Ban Gu's "Hanshu Yiwenzhi" of the Eastern Han Dynasty generally referred to the Yuefu poems at that time as "songs". poetry". By the Tang Dynasty, new folk song "qu" was a musical form sung with the accompaniment of pipa, flute, drum and other musical instruments and five-character, seven-character or long and short sentences. Due to the special literary nature of the lyrics of "qu", "qu" has gradually aroused the interest of a litterateur. Since the mid-Tang Dynasty, poets such as Wang Wei, Bai Juyi, Zhang Zhihe, and Zhang Songling have all absorbed the expressions of folk tunes to fill in the Among them, Wang Wei's seven-character rhymed poem "Send Yuan Er Envoy to Anxi" was composed into the famous "Yangguan Sandie" and has been sung throughout the ages. "Singing poems to music" became a temporary trend. Some excellent famous poems were widely sung as soon as they were included in songs and music, and they have endured through the ages. To sing these poems in the form of music is inseparable from the pipa, the main accompaniment instrument.
Let’s look at the connection between pipa and Tang poetry from the perspective of ancient pipa music scores. The popularity of poetry and music in the Tang Dynasty can be seen from the Tang Dynasty pipa music scores discovered today. One of the Tang Dynasty pipa scores that can be seen now is the "Dunhuang Pipa Score" discovered in the Dunhuang Grottoes in my country in 1900, the other is a fragment of the "Tianping Pipa Score" hidden in Shosoin, Japan, and the other is now in Japan "Wuxianqin Score" by Yomei Bunko, Kyoto. These pipa scores are accompanied by lyrics, which are Tang poems. Many poems by Li Bai, the "Immortal of Poetry", such as "Guan Shan Yue" and "Walking Wine to Ask the Moon" are included in the "Dunhuang Pipa Score", and there is also a phenomenon that one poem has multiple pipa accompaniment scores. It can be seen that the use of pipa to accompany Tang poetry is also an important reason for the integration of the two.
The fusion of pipa art and Tang poetry is a relationship of mutual expression and mutual influence. Tang poetry describes and depicts the art of pipa in the form of words, and pipa presents Tang poetry to people melodiously and gracefully in the form of music. The performance of the pipa provides creative material for Tang poetry, and the language of Tang poetry can be expressed through the beautiful performance of the pipa, that is, the two can serve as materials for each other. The following will discuss these two aspects in more detail with some examples, aiming to show the close connection between pipa art and Tang poetry.
The expression of pipa art in Tang poetry
According to statistics in the "Pipa Handbook" compiled by Zhuang Yongping, there are nearly a hundred famous works related to pipa in Tang Dynasty poetry. head. Among them are "Jade Pipa" and "Pipa Strings" which describe the pipa instrument itself; there are "Cao Gang" and "Tai Niang Ge" which involve the performer; there are "Pipa Xing" and "Wuxian" which describe the performance and appreciation. "Bullet" and so on, it can be described as a vast and comprehensive list. The most exciting part is the depiction of the pipa instrument itself and its performance. At the same time, many chanting poems with pipa as the main material also appeared during this period. Liu Yuxi, Bai Juyi, Yuan Zhen, Li Shangyin, etc. are among the leaders in this type of poetry creation. In general, regardless of quantity or quality, Tang poetry is the highest historical peak in literary expression of pipa art.
The expression of the art of pipa in Tang poetry is a complex system, and the other levels of connotation expressed by the poets through the material of pipa are also multifaceted.
(1) Tang poems use pipa as the material, showing the superb pipa playing skills at that time
Bai Juyi's "Pipa Xing" from "Three or two sounds of turning the shaft to plucking the strings" to "Only seeing the heart of the river" The "Autumn Moon White" section is recognized as the best description of musical instrument performance in poetry. The poet used a variety of techniques such as comparison, metaphor, contrast, circumference, vertical and horizontal to describe the scene in a positive way; at the same time, the poet used the description of the natural scenery and the audience's feelings to exaggerate and highlight the Pipa Girl's performance. "Long together slowly, twisting, wiping and picking again, first for "Nishang" and then "Six Yao"", the poet started from the left and right fingering of pipa and the popular pipa music at that time, so that we understand that in the Tang Dynasty, pipa was playing There are already complex fingering techniques and a huge repertoire. The sentences "big string" and "small string" are descriptions of the different timbres of different strings of the pipa. From the words "gushing rain" and "whisper", we can find that the pipa at that time already had strong emotional expression. As for the sentence "Big beads and small beads falling on a jade plate", the pipa's tinkling and rhyming, elegant bead-like music is once again given to future generations in the form of words to enjoy its beauty.
In the following large section of descriptive text, the poet incorporates the description of the scene into it, making it more charming, just like music pouring into the reader's heart. All this is subjectively due to the poet's superb command of words, and objectively it beautifully reflects the superb pipa playing technology at that time.
Author: ci_cy 2005-4-21 22:21 Reply to this statement
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3 My graduation thesis related to pipa
In pipa poems, there are many that only use side descriptions and comments to express the pipa. Playing with great skill. In the frontier fortress poems of the Tang Dynasty, the pipa played an important role. There are famous poems such as "The luminous cup of grape wine, I want to drink the pipa immediately"⑤, "The pipa dances with a new sound, and it is always the feeling of farewell in the mountains"⑥. The poems that best express the pipa playing skills are those poems in which the pipa is used as a "sensational object". In Cen Shen's "A Night Gathering with the Judges in the Liangzhou Pavilion" there is a verse that says, "One piece of pipa music is heart-breaking, the wind is rustling and the night is long." This sentence does not describe the performance of pipa in a positive way, but it can be seen from the reaction of the audience. It is enough to show the superb performance skills - how sensational music can make people feel "heartbroken"! In addition to frontier poems, there are also some simple comments about pipa players that express the pipa playing skills at that time. Liu Yuxi wrote in his poem "Cao Gang": "As soon as I heard Cao Gang play "Bo Mei", my life was incompatible with leaving the capital." Bai Juyi even said, "Who can cut off Cao Gang's hand and insert it into Chonglian's sleeve"⑦ verse. The performance of pipa can make people "not want to leave the capital" and even want to "cut off Cao Gang's hand". This shows how skilled a performer Cao Gang is, and it also reflects the pipa playing skills of a dynasty.
In short, the Tang Dynasty was a peak period for pipa art in my country. Pipa masters were like stars and famous songs were like clouds. Many musicians pushed pipa art to a new level with their impeccable superb skills and hearty emotional expression. An unprecedented level. The reason why modern people can understand these things so clearly must be due to the description and expression of them in literature, mainly Tang poetry.
(2) Poets use the art of pipa as a representation to show the inner emotions of poets or musicians
From many poems describing the performance of pipa, the musicians, and the music, there are many It is difficult to find such a phenomenon. Most of these poems contain nostalgia for the past, homesickness, life experience and vicissitudes of life. This is related to the temperament of the pipa instrument itself. The pipa has a timbre that can make people feel heartbroken, and those soul-stirring pipa music can also outline the indescribable spiritual world deep in the hearts of literati.
Let’s take Bai Juyi’s ever-famous song “Pipa Xing” as an example. "We are both fallen people at the end of the world, why should we meet before" is a typical self-portrait of the poet's emotion, and the author came to this emotion by listening to the performance of the pipa girl. The poet compared Pipa Girl's "fairy music" performance with "folk songs and village flutes" and spoke highly of Pipa's performance. It was this beautiful sound that communicated the emotional channel between him and Pipa Girl. A bridge of emotions has been built deep in the heart. The deep-seated content that the poet wants to express through the performance of the lute girl and the autobiography of his life experience is nothing more than his own feelings about his wandering life experience.
Since ancient times, all poems written about Wang Zhaojun have always been inseparable from the pipa. Liu Changqing wrote in "Song of Wang Zhaojun": "There are many bitter tunes in the sound of pipa, and the sound of Xiao Xiaoqiang flute is in harmony. Who can pity a song spread to Yuefu, which can make Qiluo hurt for thousands of years." Dong Sigong has a poem in "Zhaojun's Resent": " The pipa is about to be played, and it is difficult to play the music while walking... It is useless to hold the mirror and look at it. "Bai Juyi also wrote: "The four strings are not like the sound of the pipa, and the fine pearls are written indiscriminately. It seems that the concubine Ming is disgusted with the court."⑧... All these are related to the allusion of Zhaojun holding the pipa when he left the fortress. It is no longer possible to study Zhaojun's pipa playing skills, and the ultimate purpose of poets quoting Zhaojun's allusion in their works is not here. What the poet is concerned about is Zhaojun's loneliness and desolation far away from his hometown in the Central Plains. The pipa is a tool to exaggerate this sense of desolation. Wang Zhaojun and the pipa create the highest level of sentimentality. And what all this expresses is nothing more than the poet's own sentimentality about frustration in life or the passing of years or missing his hometown.
This phenomenon of using pipa art as material in Tang poetry should be said that its essence is not to express the pipa art itself, but without the addition of pipa as a key element, then these poems can convey nothing to readers. Infectivity will be greatly reduced.
2 The performance of pipa art on the content of Tang poems
The most obvious and clear reflection of pipa art on the content of Tang poetry is the names of those poetic pipa music. Whether it is ancient pipa music or modern pipa music, the names are very particular about the "elegance" of literature. The shadow of literature can be seen in the titles of many famous songs.
From the "Pipa Music List" in the "Pipa Handbook" compiled by Zhuang Yongping, we can find some works with "poetic" meanings in their titles: "The Overlord Removes His Armor", "The Broken Lotuses Ode the Night Rain", "The Changing Song" "Hate Song", "Spring River Flowers and Moonlight Night", "Big Waves Washing the Sand", "Flying Flowers and Green Spots", "Mountains and Flowing Waters", "Dream of Red Mansions", "Peacock Flying Southeast", "Pipa Play", "Green Lotus Music House", "White Snow in Spring"... Some of these pipa songs are named after words commonly used in poetry, such as "Flying Flowers Dot the Green" and "Remnant Lotuses Ode the Rain at Night", and some simply have the same title as Tang poems, such as "Spring River Flowers on a Moonlit Night" and "Pipa Song" wait. In short, judging from the title, the literary meaning has been clearly shown in the art of pipa. In addition, the reference and application of pipa art to Tang poetry can also be seen from the subtitle of Pipa Daqu. For example, the contemporary pipa song "New Feather Tune Green Waist" was created by the author based on the description of the "Green Waist" dance in a Tang poem. The music imitates the structure of the Tang Dynasty opera and is divided into five sections, each with a subtitle. Among the five subtitles, except for the first paragraph which is taken from "Pipa Song" by Yuan Zhen, a poet of the Tang Dynasty, the remaining four paragraphs are taken from Li Qunyu's poem "Nine Days Dengdong in Changsha to Watch the Dance Many Times". The second section is called "Light Green Waist Dance", which starts in the middle sequence. The melody is beautiful and elegant, showing the dancer's light and graceful dance posture; the third section is "Slow and Endless", the music starts slowly and gradually becomes faster, with active emotions. It shows a dizzying picture of dancers' postures; the fourth section is "like a dragon lifting", which is full of momentum. It uses pipa playing techniques such as wagging and hooking fingers to show that the dancers are flying back and forth like goldfish. The scene; the fifth section is "Complex and the music ends", with complex sounds and fast rhythms, the melody rises and falls in the wide range of the pipa, and the strong sweep completes the fast sixteenth notes, which expresses the green waist dance approaching the song. At the end, there is a vivid scene of rapid rotation and climax. Naturally, the author of this pipa music could not have witnessed the wonderful scene of the "Green Waist" dance that year. The reason why the author was able to write such a vivid and vivid pipa music was because he drew materials from Tang poetry and incorporated the language of the poetry into the poem. , the poetic image was transformed into music, and the pipa song "New Feather Tune Green Waist" was born.
Author: ci_cy 2005-4-21 22:21 Reply to this statement
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4 My graduation thesis related to Pipa
From a literary point of view, readers have feelings about a work, which can be expressed in the form of words Write a "Reflection after Reading"; Pipa music can also express a certain plot and story, and can interpret the author's inner thoughts and feelings in a musical way. Therefore, Pipa art also has the function of expressing the reader's feelings after reading a certain work. . The work "Complaint - Impressions of Reading the Tang Poetry "Pipa Line"" composed by contemporary pipa artist Wu Houyuan perfectly demonstrates this "function" of pipa art. The author Wu Houyuan had an impression after reading Bai Juyi's "Pipa Play", and firmly grasped the tragic life experience of the pipa girl who was originally a prostitute from Chang'an. She once learned the pipa from Mu and Cao, two talented people, but later became a Jia woman because of her age and beauty. In the past, he made a lot of reveries and expressions. The music begins with a free recitative melody, just like the prelude to a Tang Dynasty opera. It is sometimes tight and sometimes loose, sometimes strong and sometimes weak. It seems that the pipa girl is telling her resentment in her heart and lamenting the sorrow of being a fallen person in the world. Then comes the lyrical slow midtempo, which is like the beginning of a big song. The melody is euphemistic and beautiful. This is Pipa Girl recalling her past years in the capital. The grand music and dance scenes in the palace are amazing. The graceful dance is full of emotions. There is no sadness with a bit of palace resentment and spring thoughts. Then, the melody moves up a fourth higher to be played. At this time, a cadenza with free rhythm is inserted, with large push and pull sounds, like the cry of a palace maid, sad and tragic. After the music enters the unfolding stage, the melody sometimes flows and sometimes meditates, and the high and low registers are contrasted. Various techniques such as covering, dividing, sweeping, rolling, wheeling, and push-pull are used on the pipa to perform the interpretation of "light gathering, slow twisting, wiping, and complex picking". "One sentence gives a technical explanation. The Allegro that follows is like the beginning of a big song, with complex tones and sixteenth notes playing, and the cheerful dance is dazzling. It perfectly displays the "noisy and jumbled playing, big and small beads falling on the jade plate". And appropriate. Finally, there is a long section with free rhythm and long wheel performance, which fully expresses the sadness of "we are all reduced to the world". The playing of triplets gives people a sense of echo in an empty valley, and makes people experience the desolation of the days when singing and dancing were prosperous and have gone forever. As a "reflection after reading" expressed in a musical way, this piece of music is a very outstanding work. Both in terms of structure and emotional experience, the piece of music has reached a high degree of unity with the poem "Pipa Xing".
There is also a pipa song that musicalizes Tang poetry - "Spring River Flower Moonlight Night", which is also a model work of pipa art expressing Tang poetry. Zhang Ruoxu's poem "Spring River Flowers and Moonlight Night" is completely natural and created a generation of poetry. The poem uses "moon" as a clue. In the poem, including the title, sixteen characters for "moon" appear in one sentence. Not only does this not make people feel redundant, but it cleverly integrates the fresh and bright natural beauty and comfort. The endless emotions of separation, the concentrated pursuit of the philosophy of life and the mysteries of the universe are reflected in the "moon", presenting us with a crystal clear, dreamlike and elusive artistic conception.
The pipa song "Spring River with Flowers and Moonlight Night" is one of the most representative national music masterpieces in my country. The author of the work is unknown, and it is basically considered to be the product of long-term creation and exploration by literati and musicians. The whole song has an elegant and tranquil melody, and the melodious and melodious melody is like a delicate, soft and elegant landscape painting, or like a landscape poem that reads elegant, ethereal, and gentle. The whole piece of music is presented through the fresh and bright timbre of the pipa, which is a scene of the mighty spring river, whirling flowers, and bright moon in the sky. It also expresses people's cherishment of nature. This first achieves a certain unity with poetry in terms of central meaning. Not only that, the structure of the music also coincides with the poetry. The pipa song "Spring River with Flowers and Moonlight Night" uses the technique of "changing the beginning and ending" in the melody, that is, each section of the music starts differently but ends with a short section of similar melody. This makes the music interlocking and continuous, sometimes rising and sometimes falling, giving full play to the rich connotation and charm of the entire music. The short similar melody at the end of each section of the music becomes the clue to the entire music. It has a similar status and plays the same role as the word "moon" in the poem. This makes the music and poetry similar in structure. They match and complement each other. Therefore, both in terms of connotation and structural analysis, the pipa song "Spring River with Flowers and Moonlight Night" is based on the poem "Spring River with Flowers and Moonlight Night" as its model and material. The poet and the musician's wisdom make them integrated in temperament, and ultimately make the pipa song "Spring River Flowers and Moonlight Night" a rare masterpiece of pipa art expression of literary works.
It can be seen from the above examples that although pipa art can exist independently, without the addition of music based on classical literary works, pipa art will lose a lot of cultural connotation and will also Therefore, it loses its unique charm as a classical national musical instrument.
To sum up, there is a close connection between Tang poetry and the musical art of pipa. The performance of Tang poetry on the art of pipa makes readers feel as if they are hearing the sound and being there; the art of pipa uses Tang poetry as its material, presenting Tang poetry to people in a beautiful, fresh and refreshing way. Poetry and music complement each other, music becomes rhymed because of poetry, and poetry becomes elegant because of music, both of which achieve better aesthetic effects. The poets and musicians of the Tang Dynasty who were full of inspiration and talent influenced each other, learned from each other and drew creative materials from each other. They used poetry to enrich the art of pipa, and used the art of pipa to sublimate Tang poetry.
Notes:
① Zhuang Yongping. Pipa Handbook [M]. Shanghai: Shanghai Music Publishing House, 2001, P10
② Zhuang Yongping. Pipa Handbook[ M]. Shanghai: Shanghai Music Publishing House, 2001, P10
③ Tong Qingbing. Literary Theory Tutorial [M]. Beijing: Higher Education Press, 1998, P 63
④ Li Fangyuan , Yu Mei. Analysis of Literary Music in the Tang Dynasty [J]. Journal of the Central Conservatory of Music, 1998, (3), P61
⑤ Wang Han's "Liangzhou Ci"
⑥ Wang Changling's " Joining the Army"
⑦ Bai Juyi "Listening to Cao Gang's Pipa and Showing the Lotus Lotus"
⑧ Bai Juyi "Listening to the Pipa in Spring and Briefing Sun Sihu"
Reference Literature:
① Zhuang Yongping. Pipa Handbook [M]. Shanghai: Shanghai Music Publishing House, 2001
② Liu Chongde. One Hundred Yuefu Songs and Poems in Ancient Music Scores [M]. Baoding: Hebei University Press, 2001
③ Wu Zhao, Liu Dongsheng. A Brief History of Chinese Music [M]. Beijing: People's Music Publishing House, 1983
④ Zhang Peiheng, Luo Yuming. History of Chinese Literature (Volume 1) [M]. Shanghai: Fudan University Press, 1996
⑤ Fan Yifu. Thoughts on the theme of the national instrumental ensemble "Moonlight Night on the Spring River" [J]. Journal of Xianning Normal College, 2001, ( 4)
⑥ Jiang Jihong. Talking about the music description technology of "Pipa Xing" [J]. Journal of Hunan Taxation College, 2000, (6)
⑦ Cui Yue. Tang Poetry and Song Ci Pipa Art in Chinese Music [J]. Symphony - Journal of Xi'an Conservatory of Music, 1999(3)
⑧ Fang Yuan, Yu Mei. Analysis of Literary Music in the Tang Dynasty [J]. Journal of Central Conservatory of Music, 1998( 3)
⑨ Shi Wei. On the artistic characteristics of traditional pipa music [J]. Journal of Zibo Teachers College, 1998(1)