Narrative review on the development and challenges of pipa education in China

Siyu Long; Mei Foong Ang; Noris Norowi Mohd

doi:10.31893/multirev.2025001

Keywords:

pipa education

traditional music education

innovative teaching

conservatory roles

traditional educational evolution

Abstract

As a traditional Chinese folk instrument with a history of 2,000 years, the pipa has been valued by the Chinese government and favored by the Chinese people for its unique sound and rich expressive power. However, the development lineage and current status of pipa education in China have rarely been clarified, especially the current status of pipa education. This study used narrative review techniques to organize and analyze the history and current status of pipa education. This paper reviews the history of pipa education in China, focusing on the current development of pipa education, including teaching institutions, representative figures, target students, and teaching models. The study revealed that contemporary Chinese pipa education has achieved remarkable accomplishments. China’s eleven conservatories serve as the primary institutions for imparting contemporary pipa education. Representative figures such as Lin Shicheng, Wang Fangdi, and Liu Dehai have made substantial contributions to the advancement of contemporary pipa education. However, pipa instruction is primarily targeted toward children and university students, with limited emphasis on elderly people and special children. Individual and group lessons in traditional pipa instruction possess their respective merits and drawbacks. Nonetheless, further exploration is warranted regarding integrated teaching models and the application of contemporary information technology in innovative teaching models to facilitate the advancement of modern pipa education.
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How to cite

Long, S., Ang, M. F., & Mohd, N. N. (2024). Narrative review on the development and challenges of pipa education in China. Multidisciplinary Reviews, 8(1), 2025001. https://doi.org/10.31893/multirev.2025001

[1] https://remix.berklee.edu/able-website-links/122. Accessed on July 24, 2024.

[2] Chen, Y. (2021). Innovation and change open up a new path--talking about master Liu Dehai’s pipa art from performance. Chinese Music, (05), 56-62. https://doi.org/10.13812/j.cnki.cn11-1379/j.2021.05.009.

[3] Chen, Y. X., & Gao, C. R. (2023). Protecting the pipa genre and continuing the tradition: an overview of the project of cultivating pipa performers of the Pinghu School. Journal of the Central Conservatory of Music, (03), 160-172. https://doi.org/10.16504/j.cnki.cn11-1183/j.2023.03.005.

[4] Chinese Artist. (n.d.) Xianshun pipa school. Base Profile. http://xianshunpipaxuexiao.meishujia.cn/?act=usite&said=315&usid=763. Accessed on July 24, 2024.

[5] Cui, X. J. (2021). Pipa genres in the national intangible cultural heritage list: the examples of Chongming and Pudong School. Art Review, (12), 15-18. https://xueshu.baidu.com/usercenter/paper/show?paperid=1g0c0cd09g7n0rt0rv0q0eh0g5048351&site=xueshu_se&hitarticle=1

[6] Cui, X. J., & Zhao, Y. Z. (2022). Passing on the fire of the Wang School: Wang Yuting and Li Tingsong. Musical Instruments, (10), 70-73. https://xueshu.baidu.com/usercenter/paper/show?paperid=16760cd08d360a50v37r0rd0kw791256&site=xueshu_se&hitarticle=1

[7] Demirgen, E., & Esin, F. (2016). Music education in Ancient Greek. The Journal of International Social Research, 9(47), 514-525. https://www.worldhistory.org/trans/tr/1-11681/antik-yunanda-muzik/

[8] Ding, L. N. (2019). Research on the pipa teaching method for children in early school age. Northern Music, 39(10), 107-111. https://xueshu.baidu.com/usercenter/paper/show?paperid=1h1u0410rw3j0pj00q1e0r70t1727019&site=xueshu_se&hitarticle=1

[9] Dong, D. D. (2019). Investigation on the characteristic teaching mode of pipa in Chengnan primary school in Wenzhou (Master thesis). Wenzhou University. CNKI.

[10] Dong, D. D., & Meng, L. L. (2018). The significance of teaching pipa repertoire in children’s enlightenment education. Home Drama, (22), 180. https://wenku.baidu.com/view/cf6c2fbcfe00bed5b9f3f90f76c66137ef064f0c?fr=xueshu_top&_wkts_=1692070781395

[11] Encyclopaedia of China. (2023a). Pear garden government. Ancient Chinese Music. https://www.zgbk.com/ecph/words?SiteID=1&ID=548442&Type=bkzyb&SubID=227192. Accessed on July 24, 2024.

[12] Encyclopaedia of China. (2023b). School for court musicians. Ancient Chinese Music. https://www.zgbk.com/ecph/words?SiteID=1&ID=548067&Type=bkzyb&SubID=227192. Accessed on July 24, 2024.

[13] Encyclopaedia of China. (2023c). Golan washe. Chinese Opera Music. https://www.zgbk.com/ecph/words?SiteID=1&ID=133605&Type=bkzyb&SubID=61242. Accessed on July 24, 2024.

[14] Feng, J. Y. (2022). Exploring the historical inheritance and innovation of the art of pipa performance. Jurnal Heihe College, (09), 147-149. https://doi.org/10.3969/j.issn.1674-9499.2022.09.046

[15] Ferrari, R. (2015). Writing narrative style literature reviews. Medical Writing, 24(4), 230-235. https://doi.org/10.1179/2047480615Z.000000000329

[16] Gao, J. (2016). The evolution of pipa forms in China and the path to nationalisation (Master thesis). Qingdao University. CNKI.

[17] Gao, S. (2020). Identified “standards”: the practice and connotation of the standardisation of ethnic musical instruments in new China. Journal of Nanjing Arts Institute (Music and Performance), (02), 49-55. https://xueshu.baidu.com/usercenter/paper/show?paperid=167h00u0ga2s0vg0465y0vw03k792662&site=xueshu_se&hitarticle=1

[18] Han, C. (2014). The formation and classification of pipa genres in modern times. The Sound of the Yellow River, (11), 106-108. https://xueshu.baidu.com/usercenter/paper/show?paperid=611563d7100ed967b996d1809d86d82c&site=xueshu_se&hitarticle=1

[19] Jäncke, L. (2019). Music and memory. In M. H. Thaut & D. A. Hodges (Eds.), The oxford handbook of music and the brain (pp. 237-262). Oxford University Press.

[20] Jia, Y. Y. (2014). Employment-oriented reform of the teaching mode of instrumental music in colleges and universities: taking pipa teaching as an example. Arts Education, (03), 62-63. https://kns.cnki.net/kcms/detail/detail.aspx?FileName=YSJY201403031&DbName=CJFQ2014

[21] Jiang, N. (2021). The artistic characteristics of Pudong school pipa performance: taking the pipa score of yangzhengxuan as an example. Voice of Yellow River, (18), 46-49. https://doi.org/10.19340/j.cnki.hhzs.2021.18.014.

[22] Jin, G. (2019). Overview of the historical development of pipa materials. Art Review, (14), 120-121. https://xueshu.baidu.com/usercenter/paper/show?paperid=125b0th0s93w0rr0c5480g00hu331834&site=xueshu_se

[23] Li, L. L. (2013). The current situation and thinking of pipa art examination. Journal of Luoyang Normal University, (10), 149-151. https://doi.org/10.16594/j.cnki.41-1302/g4.2013.10.019

[24] Li, Y. R. (2016). Exploration of pipa elementary teaching (Master thesis). Shanghai Conservatory of Music. CNKI.

[25] Li, Z. X. (2023). Reflections on the cultivation of aesthetic sense in pipa teaching. Journal of Gansu High School Teachers, 28(01), 139-142. https://kns.cnki.net/kcms/detail/detail.aspx?FileName=GSGS202301025&DbName=CJFQ2023

[26] Liang, M. C. (2021). A preliminary review of Liu Dehai’s new pipa compositions during 2000–2020. Chinese Music, (05), 45-55. https://doi.org/10.13812/j.cnki.cn11-1379/j.2021.05.008

[27] Liu, D. H (2021). The sea of zither. People’s Music Publishing House.

[28] Liu, M. Q. (2020). A preliminary study of pipa teaching for school-age children. Art Education, (07), 76-79. https://www.zhangqiaokeyan.com/academic-journal-cn_art-education_thesis/0201280570763.html

[29] Liu, Y. K. (2020). Exploring the teaching effectiveness of pipa group classes (Master thesis). North Central University. CNKI.

[30] Ministry of Education of the People’s Republic of China. (2021). Reply to recommendation No. 7298 of the fourth session of the thirteenth national people’s congress. http://www.moe.gov.cn/jyb_xxgk/xxgk_jyta/jyta_twys/202111/t20211102_577150.html. Accessed on July 24, 2024.

[31] Ning, Z. H. (2020). On the application of Dalcroze’s music teaching method in pipa teaching. Art Grand View, (19), 113-114. https://xueshu.baidu.com/usercenter/paper/show?paperid=1n7d0cm0yf680gy0t83g06e0d5768129&site=xueshu_se&hitarticle=1

[32] Ren, H. H. (2020). Practice and exploration of online teaching of pipa performance class in colleges and universities: taking pipa performance class in Jinzhong college as an example. Daguan, (07), 110-111. https://xueshu.baidu.com/usercenter/paper/show?paperid=1d5q02u0yu2w0430b9630eb0g4053276&site=xueshu_se

[33] Shi, Y. (2016). A review of the Pinghu School art research over the past thirty years. Symphony (Journal of Xi’an Conservatory of Music), (03), 134-139. https://doi.org/10.15929/j.cnki.1004-2172.2016.03.006

[34] Sofologi, M., Papatzikis, E., Kougioumtzis, G., Kosmidou, E., Klitsioti, A., Droutme, A., & Efstratopoulou, M. (2022). Effectiveness of musical training on reading comprehension in elementary school children. Is there an associative cognitive benefit? Frontiers in Education. 7(364). https://doi.org/10.3389/feduc.2022.875511

[35] Sun, C. H. (2019). Some views on contemporary pipa education and artistic issues by Wang. Yellow River Voices, 549(24), 10-14. https://doi.org/10.19340/j.cnki.hhzs.2019.24.002

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