Wu Man, the Pipa and Chinese Tradition in a Contemporary Global Context?

Abstract

In contrast to the idea that the modernization of playing styles has unleashed the expressive potential of the pipa, this article suggests, through the individual case study of Wu Man, that traditional styles are essential to the numerous successful premieres of pipa concertos globally. It offers the experiences of diasporic pipa player Wu Man as an insider’s viewpoint, arguing that the demonstration and emphasis of traditional pipa playing techniques and styles are important to a successful contemporary performance. This article is the first to disclose Wu Man’s experience in how she applies traditional pipa music to the numerous successful premieres of pipa concertos, framing the pipa concerto as just one example of a much wider trend in the musical worldthat of the commissioning and performance of new music for cross-cultural instrumental groups. There are two essential elements to the upkeep of traditional pipa playing: one lies with the composer’s understanding of pipa music in their newly composed pieces and the other lies with the pipa player’s abilities (their mastery of playing techniques, broader experience in various traditional music genres, creativity, and taking on a leading role in playing). Thus, in this article, I will analyze these elements to reveal how a globally successful pipa musician has interpreted and translated the traditional aspects of pipa music in a global world.