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The ''pipa'' (, ) is a four-stringed Chinese musical instrument, belonging to the plucked category of instruments. Sometimes called the Chinese lute, the instrument has a pear-shaped wooden body with a varying number of frets ranging from 12 to 26. Another Chinese four-string plucked lute is the liuqin, which looks like a smaller version of the pipa. The pipa is one of the most popular Chinese instruments and has been played for almost two thousand years in China. Several related instruments in East and Southeast Asia are derived from the ''pipa''; these include the Japanese ''biwa'', the Vietnamese ''đàn tỳ bà'', and the Korean ''bipa''. The Korean instrument is the only one of the three that is no longer widely used; examples survive in museums, but recent attempts to revive the Korean instrument have been partially successful in recent years. ==History== There are considerable confusion and disagreements about the origin of ''pipa''. This may be due to the fact that the word ''pipa'' was used in ancient texts to describe a variety of plucked chordophones from the Qin to the Tang Dynasty, as well as the differing accounts given in these ancient texts. One traditional Chinese narrative recounts the story of the Han Chinese princess, Wang Zhaojun, who was sent to marry a Hun king as part of a peace accord during the Han Dynasty between the Hans and Huns, and the ''pipa'' was created so she can play music on horseback to soothe her longings.〔http://www1.chinaculture.org/gb/en_aboutchina/2003-09/24/content_22654.htm〕〔〔〔http://www.cultural-china.com/chinaWH/History/en/48History9144.html〕〔http://www.orientaloutpost.com/proddetail.php?prod=lq-zhaojun〕 Some researchers such as Laurence Picken and John Myers suggest a "non-Chinese origin".〔〔 The earliest mention of ''pipa'' in Chinese texts appeared late in the Han Dynasty around 2nd century AD.〔〔 According to Liu Xi's Eastern Han Dynasty ''Dictionary of Names'', the word ''pipa'' may have an onomatopoeic origin (the word being similar to the sounds the instrument makes),〔(Chinese Text Project - 《釋名·釋樂器》 ) Shiming by Liu Xi (劉熙)]. Original text: 枇杷，本出於胡中，馬上所鼓也。推手前曰枇，引手卻曰杷。象其鼓時，因以為名也。 Translation: Pipa, originated from amongst the Hu people, who played the instrument on horseback. Striking outward with the hand is called "pi", plucking inward is called "pa", sounds like when it is played, hence the name. (Note that this ancient way of writing ''pipa'' (枇杷) also means "loquat".)〕 although modern scholarship suggests a possible derivation from the Persian word "barbat", the two theories however are not necessarily mutually exclusive.〔〔(Kishibe's diffusionism theory on the Iranian Barbat and Chino-Japanese Pi' Pa' )〕 Liu Xi also stated that the instrument called "pipa", though written differently (枇杷 or "piba" 批把) in the earliest texts, originated from amongst the ''Hu people (a general term for non-Han people living to the north and west of ancient China). Another Han Dynasty text also indicates that, at that time, ''pipa'' was a recent arrival,〔 although later 3rd-century texts from the Jin Dynasty suggest that ''pipa'' existed in China as early as the Qin Dynasty (221–206 BC).〔 An instrument called ''xiantao'' (弦鼗), made by stretching strings over a small drum with handle, was said to have been played by labourers who constructed the Great Wall of China during the late Qin Dynasty.〔( 《琵琶錄》 ) ''Records of Pipa'' by Duan Anjie (段安節)] citing Du Zhi of Jin Dynasty. Original text: 樂錄雲，琵琶本出於弦鼗。而杜摯以為秦之末世，苦於長城之役。百姓弦鼗而鼓之 Translation: According to Yuelu, ''pipa'' originated from ''xiantao''. Du Zhi thought that towards the end of Qin Dynasty, people who suffered as forced labourers on the Great Wall, played it using strings on a drum with handle. (Note that for the word ''xiantao'', ''xian'' means string, ''tao'' means pellet drum, one common form of this drum is a flat round drum with a handle, a form that has some resemblance to Ruan.)〕〔(《舊唐書·音樂二》 Jiu Tangshu ) Old Book of Tang. Original text: 琵琶，四弦，漢樂也。初，秦長城之役，有鞀而鼓之者。 Translation: Pipa, four strings, comes from Han Dynasty music. In the beginning, forced labourers on the Qin Dynasty's Great Wall played it using a drum with handle.〕 This may have given rise to the ''Qin pipa'', an instrument with a straight neck and a round sound box, and evolved into ''ruan'', an instrument named after Ruan Xian, one of the Seven Sages of the Bamboo Grove and known for playing similar instrument.〔(The music of pipa )〕〔( 杜佑 《通典》 ) Tongdian by Du You. Original text: 阮咸，亦秦琵琶也，而項長過於今制，列十有三柱。武太后時，蜀人蒯朗於古墓中得之，晉竹林七賢圖阮咸所彈與此類同，因謂之阮咸。 Translation: Ruan Xian, also called Qin pipa, although its neck was longer than today's instrument. It has 13 frets. During Empress Wu period, Kuailang from Sichuan found one in an ancient tomb. Ruan Xian of The Seven Sages of the Bamboo Grove from the Jin Dynasty was pictured playing this same kind of instrument, it was therefore named after Ruan Xian.〕 Yet another term used in ancient text was ''Qinhanzi'' (秦漢子), perhaps similar to ''Qin pipa'', but modern opinions differ on its precise form.〔( 《舊唐書·音樂二》 Jiu Tangshu ) Old Book of Tang. Original text: 今《清樂》奏琵琶，俗謂之「秦漢子」，圓體修頸而小，疑是弦鞀之遺制。其他皆充上銳下，曲項，形制稍大，疑此是漢制。兼似兩制者，謂之「秦漢」，蓋謂通用秦、漢之法。 Translation: Today's "Qingyue" performance ''pipa'', commonly called the ''Qinhanzi'', has a round body with a small neck, and is suspected to be descended from ''Xiantao''. The others are all shaped full on top and pointed at the bottom, neck bent, rather large, and suspected to be of Han Dynasty origin. Being composite of two different constructions, it's called "Qinhan", as it is thought to use both Qin and Han methods. (Note that the description of the pear-shaped ''pipa'' as being "full on top and pointed at the bottom", an orientation that is inverted compared to modern instrument, and refers to the way ''pipa'' was often held in ancient times).〕〔( 杜佑 《通典》 ) Tongdian by Du You citing Fu Xuan of Jin Dynasty. Original text: 傅玄云：「體圓柄直，柱有十二。」 Translation: Fu Xuan said: "The body is round and the handle straight, and has twelve frets."〕 The pear-shaped ''pipa'' is likely to have been introduced to China from Central Asia, Gandhara, and/or India.〔 Pear-shaped lutes have been depicted in Kusana sculptures from the 1st century AD. ''Pipa'' from the Han Dynasty is referred to as ''Han pipa'', however, depictions of the pear-shaped ''pipas'' in China only appeared after the Han Dynasty during the Jin Dynasty in the late 4th to early 5th century. There are therefore differing opinions about the form of the Han Dynasty pipa. ''Pipa'' acquired a number of Chinese symbolisms during the Han Dynasty - the instrument length of three feet five inches represents the three realms (heaven, earth, and man) and the five elements, while the four strings represent the four seasons.〔(應劭 -《風俗通義·聲音》 ) Fengsu Tongyi (Common Meanings in Customs) by Ying Shao. Original text: 批把: 謹按： 此近世樂家所作，不知誰也。以手批把，因以為名。長三尺五寸，法天地人與五行，四弦象四時。 Translation: Pipa, made by recent musicians, but maker unknown. Played "pi" and "pa" with the hand, it was thus named. Length of three feet six inches represents the Heaven, Earth, and Man, and the five elements, and the four strings represent the four seasons. (Note that this length of three feet five inches is equivalent to today's length of approximately two feet and seven inches or 0.8 meter.)〕 Depictions of the pear-shaped ''pipas'' appeared in abundance from the Southern and Northern Dynasties onwards, and ''pipas'' from this time to the Tang Dynasty were given various names, such as ''Hu pipa'' (胡琵琶), bent-neck ''pipa'' (曲項琵琶) and Kuchean ''pipa'' (龜茲琵琶), some of these terms however may refer to the same ''pipa''. Apart from the four-stringed ''pipa'', other instruments introduced include the five-stringed, straight-necked, ''wuxian pipa'' (五弦琵琶), a six-stringed version, as well as the two-stringed ''hulei'' (忽雷). From the 3rd century onwards, through the Sui and Tang Dynasty, the pear-shaped ''pipas'' became increasingly popular in China. By the Song Dynasty the word ''pipa'' was used to refer exclusively to the pear-shaped instrument. The ''pipa'' reached a height of popularity during the Tang Dynasty, and was a principal musical instrument in the imperial court. During this time Persian and Kuchan performers and teachers were in demand in the capital, Chang'an (which had a large Persian community).〔See also ''(The Golden Peaches of Samarkand: A Study of T'ang Exotics )'', by Edward H. Schafer; University of California Press, 1963.〕 Some delicately carved ''pipa''s with beautiful inlaid patterns date from this period, with particularly fine examples preserved in the Shosoin Museum in Japan. It had close association with Buddhism and often appeared in mural and sculptural representations of musicians in Buddhist contexts. For example, masses of ''pipa''-playing Buddhist semi-deities are depicted in the wall paintings of the Mogao Caves near Dunhuang. The four and five-stringed ''pipas'' were especially popular during the Tang Dynasty, and these instruments were introduced into Japan during the Tang Dynasty as well as into other regions such as Korea and Vietnam. The five-stringed ''pipa'' however had fallen from use by the Song Dynasty, although attempts have been made to revive this instrument in the early 21st century with a modernized five-string ''pipa'' modeled on the Tang Dynasty instrument.〔(Cheng Yu : 5 string pipa )〕 ''Pipa'' fell from favour in the imperial court during the Song Dynasty. During the Ming period, the plectrum was replaced by fingernails, while the horizontal playing position became the vertical (or near-vertical) position by the Qing Dynasty. The early instrument had 4 frets (相) on the neck, but during the early Ming Dynasty extra bamboo frets (品) were affixed onto the soundboard, increasing the range of the instrument. The number of frets gradually increased to 10, 14 or 16 during the Qing Dynasty, then to 19, 24, 29, and 30 in the 20th century. The 4 wedge-shaped frets on the neck became 6 during the 20th century. The 14- or 16-fret ''pipa'' had frets arranged in approximately equivalent to the western tone and semitone, starting at the nut, the intervals were T-S-S-S-T-S-S-S-T-T-3/4-3/4-T-T-3/4-3/4, (some frets produced a 3/4 tone or "neutral tone"). In the 1920s and 1930s, the number of frets was increased to 24, based on the 12 tone equal temperament scale, with all the intervals being semitones. The traditional 16-fret ''pipa'' is becoming less common, although it is still used in some regional styles such as the ''pipa'' in the southern genre of ''nanguan''/nanyin. During the 1950s, the use of metal strings in place of the traditional silk ones also resulted in a change in the sound of the ''pipa'' which became brighter and stronger.〔(The pipa: How a barbarian lute became a national symbol )〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Pipa」の詳細全文を読む スポンサード リンク
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