Guqin is the earliest stringed instrument of the Chinese nation and the treasure of China traditional culture. She is cherished by the world for her long history, rich literature, rich connotation and far-reaching influence. The physical objects unearthed from the tomb of Zeng Houyi in Hubei Province date back more than 2,400 years. Since the Tang and Song Dynasties, guqin products have been handed down from generation to generation. From the Southern and Northern Dynasties to the Qing Dynasty, there were more than 100 kinds of music and 3000 musical instruments. There are also a large number of documents about pianists, piano theory, piano system and piano art, and the rich remains are outstanding among Chinese musical instruments. In ancient times, Qin, chess, books and paintings were combined to summarize the traditional culture of the Chinese nation. Many famous performers have emerged throughout the ages. They are historical and cultural celebrities, handed down from generation to generation. During the Sui and Tang Dynasties, guqin was also introduced to East Asian countries, and was absorbed and passed down by the traditional cultures of these countries. In modern times, with the footprints of China people all over the world, it became a symbol of oriental culture in the eyes of westerners. The record of guqin was first found in the Book of Songs, Shangshu and other documents. "Shangshu" contains: "Shun plays banjo, sings poems in the south, and governs the world." It can be seen that the piano was originally five-stringed, and by the Zhou Dynasty it had seven strings. Ying Shao's "Custom Pass" in the Eastern Han Dynasty: "Seven-stringed man, seven-stringed man, big string is the monarch, small string is the minister, and Wen Wang and Wu Wang add two strings to combine the grace of the monarch and the minister." During the Three Kingdoms period, the pattern of seven strings and thirteen emblems of guqin was basically stable and has been passed down to this day. The playing forms of guqin are mainly piano music and solo. According to literature records, in the pre-Qin period, guqin was mainly popular among the gentry and above, and became folk music after Qin Dynasty except for sacrificial ceremonies, court meetings and suburban temple ceremonies. As for the piano as a form of vocal accompaniment, there was a record of "playing the piano and singing with the instrument" as early as in Shangshu. The Zhou Dynasty often sang with the accompaniment of Qin and Qin, which is called "string songs", that is, the so-called Qin songs since the Tang and Song Dynasties. Cao Qin, written by Cai Yong in Han Dynasty, has five songs and poems, which are Zhou Zhi's string songs, among which Twelve Caos, Nine Quotations and Hejian Miscellaneous Songs are all sung with the help of Qin. During the Spring and Autumn Period and the Warring States Period, Guqin solo music had certain artistic expression ability, such as the legend that Boya was good at playing the piano in his childhood. At that time, famous violinists included Shi Juan of Wei, Shi Kuang of Jin, Shi Wen of Zheng and Shi Bao of Lu. Famous Qin music such as Mountain, Running Water, Luo Chaofei, Yangchun and Snow White have been recorded in the history books. During the Han, Wei and Six Dynasties, the art of guqin developed greatly. In addition to being used as an accompaniment instrument in harmony songs and music of monks and youths, it also appears in the form of "Qu Dan". Such as instrumental music Guangling San, Hu Da Jiaming, Xiao Hu Jiaming, etc. , reflecting the Guqin as an important development stage of instrumental music performance. During the Sui and Tang Dynasties, western music prevailed, pipa rose, and the development of guqin music was restrained to some extent. However, due to the emergence of Guqin music, it not only promoted the spread of Guqin music at that time, but also had far-reaching historical significance for the inheritance and development of Guqin music in later generations, which made the history of ancient music in China enter a period with sound to follow. In the Tang Dynasty, Li Qiao, Li Qi, Li Bai, Han Yu, Bai Juyi, Zhang Hu, Yuan Zhen and others all wrote immortal poems for Guqin. In Ji Qin, Xue summed up the function of Guqin music: "You can observe the wind and teach, capture the soul, distinguish feelings, enjoy yourself, be calm, be courageous, be secular and respect ghosts and gods." It is also pointed out that the performer must be "calm and devoted", which is valued by later pianists, which has led to many piano playing norms. In the late Tang Dynasty, Cao Rou created Zipu because it was "extremely complicated" and inconvenient to use. That is to say, on the basis of Chinese character spectrum, the Chinese character spectrum is reduced, which is similar to playing with symbols and is an early form of Chinese character spectrum. On the one hand, the Guqin in Song Dynasty showed a tendency of nostalgia and retro; On the other hand, the long-term practice of Guqin in the performance of "harmony" and "respecting music" has a far-reaching connection with folk music. The historical tradition of "the old sound of Chu and Han" makes Guqin music develop ups and downs instead of being lost in the tendency of retro. Due to the development of printing in the Ming and Qing Dynasties, a large number of piano scores were printed and circulated, with more than 40 piano scores recorded/kloc-0. It can be seen that there were more than 300 piano songs written in the Ming Dynasty alone. In the early Ming Dynasty, Qin Qin's Sixteen Methods of Piano Sound is a theory about the aesthetic thought, playing skills and artistic expression of guqin. During the late Qing Dynasty and the Republic of China, due to the war and social changes, especially the limitations of Guqin itself, Guqin music was on the verge of extinction. At that time, some piano clubs appeared all over the country, such as Yue Yun Ji Qin in Beijing, Deyin Qinshe in Jinan, Yujin Qinshe in Shanghai, Qin Cheng Qinshe in Changsha, Vowel Qinshe in Taiyuan, Guangling Qinshe in Yangzhou and Huoqing Qinshe in Nanjing. Among them, Shanghai's "Qin Yu Society Today" has the longest duration and the greatest influence on the piano industry. After the founding of the People's Republic of China, Guqin music received the government's attention and rescue, and all kinds of folk music lost were investigated, collected and sorted out, and a number of stereos were recorded. Excavate a number of lost Qin Le, such as Guangling San and Youlan. A number of Guqin musicians have been trained, which has opened up new prospects for the arrangement, research and development of Guqin music in the future. Famous musicians include Guan Pinghu, Long, Cha Fuxi, Zhang Ziqian and Xia Yifeng. Qin School Qin School is a school composed of Qin people with the same artistic style. Qin School originated from Yushan School in the late Ming Dynasty and Guangling School in the Qing Dynasty. The differences between Qin schools mainly depend on the conditions of region, inheritance and music dissemination. Qin people in the same area often communicate with each other, learn from each other, and at the same time absorb the influence of local folk music, thus forming a similar playing style and giving Qin Le a special local color. Later Qin schools were named after geographical divisions, such as Yushan School centered on Changshu, Jiangsu, and Guangling School centered on Yangzhou, Jiangsu. The famous Qin schools are: Zhejiang School, Songjiang School, Jinling School, Wu Pai School, Zhongzhou School, Fujian School, Lingnan School, Sichuan School, September 1st School, Zhucheng School, Guangling School, Yushan School, Shaoxing School and Mei 'an School. Xu Shangying wrote this article in the 14th year of Chongzhen in Qin Dynasty (A.D. 164 1). The so-called "piano condition" refers to the state, attitude, taste and interest of the piano. According to the principle of "beauty is quiet, harmony is far away" respected by Cui Zundu in Song Dynasty, Xu Shangyin put forward twenty-four piano conditions according to Si Kongtu's Twenty-four Poems and Leng Qian's Sixteen Methods of Piano Sound, and made in-depth discussions from the aspects of finger and string, sound and meaning, form and spirit, virtue and art, and put forward that it is deeper than "climate" and more beautiful than "wandering". He believes that macro-detail, light, heavy and slow should not be neglected, which is a breakthrough to previous thoughts. It puts forward the requirements of bright, gorgeous, smooth and round "bel canto", attaches importance to the role of imagination and association in performance and appreciation, and pursues understanding and implicit beautiful voice, which also develops the thoughts of predecessors. The Love of Western Hills is a masterpiece of Guqin cultural aesthetics, which has a great influence on the development of post-Qin culture. Sixteen Methods of Piano Sound Leng Qian The Sixteen Methods of Piano Sound can be found in Nine Records of Banana Window in Ming Dynasty. In fact, three fat's Sixteen Methods put forward sixteen aesthetic categories, trying to make a summary and basis for Qin Le's aesthetics and performance. Sixteen methods are: light, loose, crisp, slippery, high, clean, clear, empty, secluded, strange, ancient, soft, harmonious, sick and empty. Under each aesthetic category, Leng Qian discusses its connotation and extension in detail, trying to guide readers to grasp the sound beauty of guqin from different essence, phenomena and aesthetic characteristics. Status quo of music: Guqin is the noblest musical instrument in ancient China, ranking first in "Chyi Chin Painting and Calligraphy". The allusion of "high mountains and flowing water" has been circulated for thousands of years and has been passed down to this day. It can be said that the significance and value of guqin far exceed that of ordinary musical instruments, and the cultural connotation of guqin music far exceeds the scope of music. However, the living conditions of Guqin are not optimistic. Few people know guqin, and guqin is rarely played in public, which makes the public's familiarity and attention to guqin very low. Many people confuse guzheng with guqin. It is a fact that there is no person specializing in guqin research in the Music Research Institute of the Chinese Academy of Art. Mr. Wu Zhao, president of the Chinese Guqin Research Association, said that guqin is not a popular musical instrument since ancient times, but rather an elegance as a cultural person. In an interview with China Newsweek, Wu Zhao said: "In the whole national musical instrument, guqin is a relatively weak one." There are many reasons for the decline of Guqin, and the most important one is that there has always been a narcissistic attitude in Guqin. Zhao Jiazhen, a professor of Guqin at the Central Conservatory of Music, told reporters that Guqin art has been stuck in the past, and the popularity of Guqin is not high, so Guqin workers should be responsible. Zhao Jiazhen said, "In the final analysis, guqin is a musical instrument, not an antique. In the future, if Guqin is still confined to making friends with Guqin, Guqin will die sooner or later. " Li Fengyun, an associate professor of Tianjin Conservatory of Music and a famous young guqin player, also holds the same view. In an interview with this magazine, she said that it is wrong to think that guqin is more elegant than other musical instruments. Guqin should adapt to the trend of market economy, step onto the stage and go to the audience.