Wei, Chung-loh is one of the most prestigious national instrumentalists among older generation of musicians. As well as a music educator and sociologist, he was named by the U.S. media as 「the Kreisler on the pipa」,「the lutanist of Menuhin」.In China, he was also described as「Meilanfang in national instrument industry」.Wei, Chung-loh has contributed much to pipa, erhu, qin, xiao, and dizi and among the above, the most representative one is pipa-playing. His characteristic in playing pipa tends to rustic, honest with both virility and effeminacy, and also uninhibited as to be the continuation of Wang School of Pipa. Not only equipped with the advantages of all schools’ distinct features, but also carrying forward the unique liberal fingering of Wang School, Wei’s musical is free from tradition. Based on the long-term devotion to musical composition, he created and transformed the traditional instrumentals cautiously but boldly. Now he has innovated many compositions for additions or deletions and such pieces as「Bright Spring」,「From the Opera」and「Ambush」are most representative to be played so far.

This research divides Wei, Chung-loh’s Art of Pipa-playing style into four parts.The first part(Chapter One) is introduction. The second part(Chapter Two) has three sections to introduce Wei, Chung-loh himself- Section I presents Wei, Chung-loh and Wang School of Pipa; Section II describes the life and music of Wei, Chung-loh and his achievements and contribution to Pipa development; Section III is the introduction to Wei’s finger skill. The third part(Chapter Three to Seven) discusses the different types of representative music of Wei, Chung-loh, including「Ambush」、「The Moon is High」、「Bright Spring」、「From the Opera」and 「Waves Washing the Beach」and analyze those compositions and interpret their playing skills. The Four Part(Chapter Eight) is the conclusions and recommendations to Wei, Chung-loh’s playing style according the writer’s delve.