The Pi-Pa music “The Melody of Gao-Ku” (also known as “Gao-Ku-Yu-Yun”) was composed using elements from “Dun-Huang Pi-Pa Scores” in the Mo-Gao Grottoes. The Mo-Gao Grottoes located on the pathway of China to Middle East and Europe. Historical evidence can be traced in the location, as well as remarkable oriental aesthetics. “Dun-Huang Pi-Pa Scores” had been reserved in the Sutra Cave of the Mo-Gao Grottoes. During year 1900, tunnel no.17 of the Sutra Cave were explored through a broken passage by a Taoist priest named Wang, Yuan-Lu, who guarding tunnel no.16. Scriptures, embroideries, wall paintings and statues were found in the tunnel. During year 1908, the artifacts had been purchased to Paris by a French explorer Paul Eugène Pelliot. The scriptures including p.3539, p.3719 and p.3808 from Paul had been preserved in the National Library of France (also known as Bibliotheque Nationale de France). The back cover of p.3808 of ‘The Scripture of Zhong-Xing Palace in the 4th Year of Chang-Xing” had noted 25 pieces of manuscript notation. Previous researchers intended to differentiate the notation into 3 sections, each section consist of 1 tuning system. The Pi-Pa music “The Melody of Gao-Ku” adapted different sound effects to create the atmosphere of the Mo-Gao Grottoes and the spirit of inheritance. The music also included melody with the tuning system in the first section. It also presents the beginning, developing, turning and finalizing of a music by using performing techniques in Pi-Pa, revealing the exquisite historical culture. This article is to manifest the relationship between “The Melody of Gao-Ku” and “Dun-Huang Pi-Pa Scores”, to show the extraordinary of the Dun-Huang through techniques and aesthetics in Pi-Pa.
