碩士 / 中國文化大學 / 中國音樂學系 / 106 / This article takes Liu De-hai's " Yi Zhi Chan " and Luo Yong-hui's " Yi Zhi Chan " as examples to discuss the historical evolution and arrangement of the right-finger method as well as to analyze and interpret the music. The archetype of the pipa is Singing Pipa , which derives from West Asia. The Singing Pipa was played by plectrum when it was first introduced into China, but after an cultural exchange with the Five-Stringed Pipa which came from India, people started to play Singing Pipa by fingerpicking. Although the formal timing of changing from plectrum to fingerpicking is not clearly stated, it has been reported that since the Yuan Dynasty, musical scores of fingerpicking pipa has already existed and became widespread in the Ming and Qing Dynasty. During the Ming and Qing Dynasty, the performing techniques of the pipa has improved. In addition, various factions emerged. People started to record musical scores systematically. In the 1980s, Liu De-hai and other composers and performers, who had received professional music education, began to invent new fingerings. In the new fingering, Liu De-hai's “Zheng Fan tan” has been widely applied by the music circle since the first use in music“Swan”.Liu De-hai's " Yi Zhi Chan " used the Big Finger pick and hook as main performing skills. On the other hand, Luo Yong-Hui played " Yi Zhi Chan " only with index finger.
| Identifer | oai:union.ndltd.org:TW/106PCCU0817005 |
| Date | January 2018 |
| Creators | LIN,KUAN-CHI, 林冠綺 |
| Contributors | LAI,HSIU-CHOU, 賴秀綢 |
| Source Sets | National Digital Library of Theses and Dissertations in Taiwan |
| Language | zh-TW |
| Detected Language | English |
| Type | 學位論文 ; thesis |
| Format | 72 |
Page generated in 0.0169 seconds