PIPA ARTISTS AND THEIR MUSIC IN LATE MING CHINA

Abstract

During the Ming dynasty, within a span of almost three centuries China's political organization, social structure, and important cultural elements were transformed by changes in government, military reforms, urban life, interaction with foreign peoples (in particular the naval expeditions of Zheng He <inline-graphic xmlns:xlink="http://www.w3.org/1999/xlink" xlink:href="splitsection3_in1.tif"/> [1371–1433]), advancement in science and technology, and the growth of literature and art. Thanks to the increase of commercial printing during the period, a vast amount of primary sources has been preserved, providing modern-day scholars with the necessary information to understand the diversity and complexity of the Ming era. However, although sinologists and historians have produced a tremendous amount on various Ming topics, much work is needed concerning music. One can certainly argue for the attention that has been given to tuning systems, qin <inline-graphic xmlns:xlink="http://www.w3.org/1999/xlink" xlink:href="splitsection3_in2.tif"/> music, ritual music, and dramatic arts, but they constitute only a fraction of the multiplicity of genres and the wide range of expression in Ming music. Without scrutiny into the other genres and expressions, we will never be able to enlarge our picture of Ming music and musical life, and their relationship to the larger social and cultural milieus.