从唐代诗人白居易长诗《琵琶行》对琵琶演奏艺术所作的生动描绘,不难看出盛唐时期琵琶就已以其特有的魅力极大地丰富了灿烂的东方文化,从而成为民族乐器中之瑰宝。然而,在两千余年师承相传的乐器制作史中,缺乏理论研究的记录,以致于制作成功率很低的弊端至今未能得到解决。为此,笔者从实验入手,探讨了琵琶的琴膛结构及泛音共振在发音中所起的重要作用。在琵琶上,琴弦、山口、品、相、复手、面板、背板等,是关系到发音质量的重要部 From the vivid depiction of the art of pipa performed by Tang Dynasty poet Bai Juyi’s long poem “Pipa”, it is easy to see that the pipa in the prosperous Tang Dynasty has greatly enriched the splendid oriental culture with its unique charm and thus became the treasure in the national musical instrument . However, in the history of musical instrument production that has been passed on for more than two thousand years, there is a lack of records of theoretical studies, so that the drawbacks of a low production success rate have not been solved yet. To this end, the author starts from the experiment and explores the important role of the pipa’s piano structure and overtone resonance in pronunciation. In the pipa, strings, Yamaguchi, product, phase, complex hand, panel, back plate, etc., is an important part of pronunciation quality