Guqin, also known as "lyre", is often called "Qin" in history books. In Tang poetry, there is a famous sentence "Your lyre is like the sound of cold wind in Songtao", and "Lingling lyre" refers to guqin. Qin unearthed from Leigudun Tomb in the Spring and Autumn Period and Mawangdui Tomb in the Western Han Dynasty further confirmed its long history. In ancient books such as The Book of Songs and Shangshu, as well as in Tang and Song poetry, we often see the continuation of Qin and Qin music. Therefore, Guqin is a national musical instrument with a long history in China.
2. Guqin structure
Guqin is made by gluing a long and narrow paulownia board (also used with other pines) and a catalpa floor (also used with other hardwoods), and the exterior is painted with Chinese paint. The head of the piano is at the wide end of the piano, and there are seven small shafts under it that can be tuned, called "Zi". Thirteen small circular symbols, called "Hui", are embedded on the outside of the piano, which are symbols of overtones and phonemes. There are seven strings on the surface of the piano, from thick to thin from outside to inside, and they are played horizontally on the piano table. Compared with many musical instruments, guqin has the following unique features: the effective vibration chord length of guqin strings exceeds that of ordinary musical instruments, with wide amplitude, profound sound quality, tranquility and simplicity; The face of the guqin is a fingerboard, with no product and no column, and the sound hole is opened on the bottom plate to transmit sound downward; There are more than 100 kinds of practical overtones on the piano, which is the most musical instrument.
3. Qin theory
A new theory--qin dao: a monograph on qin studies. Written by Huan Tan in Han Dynasty. The original book has been lost, and several collections of the Qing Dynasty have been lost. The Biography of Jujube in the Later Han Dynasty in Huan Tan said that this article was unfinished and was continued by Ban Gu. The existing fragments are On the History of Qin Dynasty and The Misinterpretation of Qin Dynasty. There are Yao Chang, Cao Shun, Yu Cao, Cao, Cabbage Cao, Cao and Bo.
Monographs on Qin studies. Yang Xiong's works in Han Dynasty. The original book is lost. There are lost articles in the series All China People.
Fingering the rhythm of monks: Qin monograph, included in Qin Lu. The author is a disciple of Yi Hai, a monk in A Qin, and also a famous Qin monk in the Northern Song Dynasty. This paper expounds Master Hai's playing theory of "being as anxious as a star and as slow as running water". And put forward the processing methods of "from high to low, from low to high, from low to high, from long to short, from back to fast", and analyzed the performance methods of different genres of piano music works in detail.
The earliest extant monograph on Qin history. Zhu. Written in 1084. This book has six volumes. The first five volumes collected 156 characters' stories related to Qin in chronological order, and made some dialectical comments. The last volume is a special discussion on piano art.
Monographs on Qin studies. Written by Liu Ji in Han Dynasty. Income in the Southern Song Dynasty "Taikoo Legacy". He divided the musical elements of Qin into sound, tone and rhyme, which are similar to the musical tone, mode and structure that modern people say. As far as the artistic requirements of Qin are concerned, he can be divided into Qinde, Qin Jing and Qindao. These are the conditions for piano music to have artistic appeal. Qin Shu: A Monograph on the History of Qin Dynasty. Jiao Yuan was compiled in Yuan Dynasty and was included in Rong Qing Jushi Collection. After investigation, the author discusses the evolution of genealogy in Song Dynasty. From the decline of the official "Pu Ge" to the rise of the folk "Jiangxi Shop", and then to the replacement of "Zhejiang Shop" at the end of the Song Dynasty, it provided specific historical materials for the formation of Zhejiang Shop.
Monographs of Qin law. Written by Chen Minzi in Yuan Dynasty. Income "Shu Qin Quan Shu". Based on the theory in Li Xu's Biography of Ao Yinyu in Song Dynasty, this paper analyzes the sound discrimination and music making. It is emphasized that tonality should be clear, and that "the subject and object should always prevail and not infringe the tonality of the other party", and the composition method should be in-depth and concrete.
The Complete Works of Taiyin, a monograph on Qin studies. Originally published in the 11th year of Yongle in Ming Dynasty. Formerly known as The Legacy of Taikoo, Yang Zuyun was renamed Qinyuan Notes during Jiajing period. Yuan Junzhe annotated this book in the early Ming Dynasty. The book consists of six volumes, including: making piano, playing piano, gestures, essays, fingering, meaning adjustment and so on. This is the earliest piano book in existence. Among them, there are related documents in Tang and Song Dynasties.
Shu Qin Quan Shu: A book with the largest number of ancient Qin documents. Editor Jiang Keqian. After four generations of continuous accumulation, it was written in Gengyin Year in Wanli period of Ming Dynasty. The book * * * 22 volumes. The first 20 volumes contain rich records of Qin studies in past dynasties, and many lost books and monographs on Qin studies are preserved. In the last two volumes, there are 62 piano pieces, some of which are unique.
Sixteen methods of piano sound: piano monograph. The author is cold, modest and respectful, and his name is Longyangzi. The sixteen laws of Taikooli are: light, loose, crisp, smooth, high, clean, clear, empty, hidden, strange, ancient, light, moderate, harmonious, sick and empty, which have great influence on future generations.
Monographs on Qin studies. Author Xu Shangying further analyzed and supplemented the 24 conditions of harmony, quietness, clearness, distance, antiquity, lightness, elegance, beauty, clarity, picking, cleanliness, embellishment, roundness, firmness, macro, fineness, smoothness, health, lightness, heaviness, slowness and speed according to the sixteen methods of piano sound. It is an important document to study the aesthetics of ancient music.
Eight pieces of guqin: monographs on the study of guqin. Income "Chuncaotang Piano Music". By Dai Yuan.
Eight aspects include: getting love, singing, pressing knots, regulating qi, exercising bones, picking up music, understanding music and distinguishing factions. There are many requirements for the artistic accomplishment of playing the piano. It is quite innovative to discuss item by item.
A monograph on the study of Qin. Author: Wang Tan. This book was written in Qianlong nine years. The book focuses on the relationship between temperament and piano tune, and also discusses the piano school. Oppose the lyrics and think that "the way of voice is very touching and has nothing to do with the lyrics."
Inside and outside Qin studies: monographs on Qin studies. By Cao Tingdong. Written in the fifteenth year of Qianlong. The inner part discusses the principles of positive, negative, double and half of piano law and the method of setting emblem and key. Waipian is a collection of ancient and modern Qin theories, and you can judge whether it is right or wrong according to your own wishes.
Supplement and continuation of Qin history: a monograph on Qin history. Editor Zhou Qingyun. The collection of guqin books is the first in Jiangnan. There are books such as Shu Qin Cun Mu and Cao Qin Cun Mu. Qin Shi Bu supplements Zhu's Qin Shi Bu, with more than 600 people, and their sources are indicated one by one.
Qin Xue series: edited by Yang Zongji. Books written from 19 1 1 to 193 1 * * * Forty-three volumes, about 700,000 words. Include many materials. In Hua Qin and Qin Cui, it is put forward that "the sound of the piano is like a mirror." And analyze this kind of reflection "nothing more than pictographic, homophonic and knowing three ends" As we all know, folk tunes have played a rich role in the development of Qin music. It is considered that "it is difficult for listeners" to copy ancient songs. Thirty-two songs received are all accompanied by scale scores. I also tried to beat some famous traditional songs, such as Youlan and Guangling San.
Qin Yu Magazine: The academic journal of the Qin Yu Institution. Edited by Cha Fuxi and Peng Qingshou, published in 1927. The books of modern Qin people and Qin society are rich in information. The book includes narrative, academic research, textual research, discussion and so on. This paper puts forward the idea of systematically collecting and sorting out the musical heritage of Guqin by using modern musical knowledge.
4. Notes
/kloc-The guqin music "Jieshi Tiaoyou Orchid" 0/500 years ago has been recorded by a special notation-"Zipu", which has been passed down to this day. In the Tang dynasty, the character spectrum was improved to "simplified character spectrum", which has been circulated for more than 1000 years. There are more than 150 kinds of piano scores compiled and printed by Qin artists in past dynasties, among which * * * contains more than 3,000 piano songs and a large number of theoretical texts. The heritage of Guqin music is magnificent and vast. It can be described as a treasure in China folk music, which has attracted the attention of music historians and music theorists at home and abroad.
(1) character spectrum:
It is a text that explains the playing method in detail, and you don't need to remember the pitch and rhythm directly. The only written music in the world is Jieshi Tiao You Lan, which was passed on by Liang Qiuming in the Southern Dynasties, and is now in the National Museum of Tokyo, Japan. Today's performance "Jieshi Jumping to the Orchid" is based on this spectrum. The example is as follows: "You are lying in the middle, referring to a case dealer who is more than ten and a half inches long. Your forefinger and middle finger hold the case dealer with both hands, and the middle finger is in a hurry. With the structure, you can stay at the end of the dealer 13 inch, the index finger can help the dealer in half, the index finger can help the dealer in half, indulge the unknown dealer corner 13 inch, and you can make a semi-support at the dealer corner. "
(2) Subtraction spectrum:
According to legend, Cao Rou was simplified and abbreviated according to the character spectrum in the Tang Dynasty. Each block of subtraction spectrum is a compound word formed by reducing strokes of Chinese characters. This notation mainly remembers fingering movements, chord order and emblem position, but does not remember pitch and rhythm, which belongs to fingering notation. A word block can usually be divided into two parts: the upper part represents left-handed fingering and position, and the lower part represents chord order and right-handed fingering. Sometimes the lower left often indicates the sliding of the left hand. The above block can be interpreted as "the name of the left hand means that the third string is pressed between the eighth and ninth emblems, the middle finger of the right hand hooks three strings at the same time, and the left hand slides towards the ninth emblem".
5. Pure law
Refers to the overtone phoneme calculated by the chord length of two, three and five points.
6. Simple laws
Simple method (three-point gain and loss method)-phonemes are calculated by three-point loss (subtraction) and three-point gain (addition) respectively.
7. the musical beauty of guqin
Guqin music is mainly influenced by Confucianism's thought of harmony but difference, gentleness and sincerity, and Taoism's thought of conforming to nature, loud music and indifference to distance. Traditional Qin Le mainly adopts five tones, which can be said to be the musical realization of Confucianism's thought of neutrality and elegance, while Qin Yueqing's style and artistic conception are mainly a reflection of Taoist thought.
The musical style of Guqin tends to be quiet, simple, secluded, ancient, plain, soft, lyrical and elegant because of its musical instrument shape, timbre, theme, connotation and structure. Many people even think this instrument is silent when they listen to Qin Le for the first time. The ancients also said that guqin was "difficult to learn, easy to forget and unpleasant to listen to" and that "no one listened to it". "Nobody listens" and "Nobody listens" are actually due to the static beauty of Guqin music style, such as static, empty, deep, static, static and so on. This is also the reason why Guqin is most suitable for playing in the dead of night, because such an environment can match the style of Guqin music and the artistic conception it pursues. It really makes sense to call the whole music art of Guqin as Qindao, because the appreciation and understanding of Guqin can not only be understood from its musical tunes, but should be comprehensively regarded as the spiritual reflection of intellectuals in many aspects. All these are manifested in the choice of theme, the pursuit of artistic conception and the moral norms, which represent the ideal style and aesthetic standards of Qin music.
Few musical instruments in China have a complete set of aesthetic standards for playing Qin Feng like guqin. As early as the Six Dynasties, Qu Zhan put forward the requirements of scattered overtones and tone tones. Liu in the late Tang Dynasty and the Five Dynasties put forward "beauty without splendor, sadness without injury, quality without deceit, softness and smoothness, rather than movement, twists and turns in rhyme, loneliness without sound" as the standard of Qin morality. In fact, there are some articles on the performance style of guqin in past dynasties. Some of them are found in Qin Zhuan Cang and Qin Pu, while others are scattered in sporadic poems. However, it is more complete and important to systematically expound the crystallization of aesthetic experience and the judgment of aesthetic standards of guqin performance style, including Leng Qian's Sixteen Methods of Qin Sheng in Ming Dynasty and Xu Shangying's Xi Shan Qin Qing in Ming Dynasty.
Confucianism's thought of joining the WTO emphasizes the doctrine of the mean, elegance and morality, which is reflected in the praise of elegant music and moral sound in music and the condemnation of vulgar music, lewd sound and drowning sound. Elegant music is characterized by peace, elegance and gentleness, so it can change customs and guide people to be good. Its style is subtle and steady, which is contrary to the so-called masturbation pop music and the pursuit of complex and changeable sound effects. That's why we say "great joy". This involves the aesthetic standards of music with moral constraints, so it requires moderation in music and opposes extremes and "differences." Taoist transcendental thought emphasizes nature, freedom and freedom from worldly fetters, which is embodied in the music of Laozi's thought of "singing with joy" and pursues the so-called "realm of Tao". Therefore, Taoism only holds a positive attitude towards the spiritual level of music, but basically holds a negative and antagonistic attitude towards the sound level of music (that is, the materialized and metaphysical level). This is similar to the Confucian view that the moral level of music is positive, and the change of sound itself is to protect the "technical" level of the exhibition, but the former is linked with the implied artistic conception, while the latter is linked with morality. Only both of them also reject the excessive development of the materialized level of sound. The transcendental thought of Taoism forms its aesthetic ideal of pursuing artistic conception, emphasizing "meaning" and emphasizing implication. The outline of Wei Qingyuan also includes derivatives and variants such as He Qingya, Gu Erdan's Book Support, Jing Yuan, Chun Jing Jian, Xiao San Jian Yuan, Tian Qingyi and Yuan Jing Yi Dan.
Musical artistic conception of guqin
The word "artistic conception" was first quoted by Wang Guowei in "Ci Hua on Earth". He said: "The style of ancient and modern poets is as high as white stone. I don't want to exert my strength in artistic conception, so I feel that there is no meaning, and the meaning is not as good as the first-class author. " "Artistic conception" includes "meaning", that is, the expression of the artist's subjective feelings, and "environment", that is, the reflection and reproduction of the external social environment or natural environment. This realm of scene blending contains endless charm and endless meaning, which makes people memorable and lingering. Therefore, it is called "implication" and "implication", because "implication" and "implication" is a spiritual realm beyond materialization and is not bound by reality, so the world is vast, ethereal, infinite and inclusive. To put it simply, artistic conception is the perfect unity of mind, subject, object, connotation and form, paying more attention to the connotation of emptiness, seeing emptiness in reality and having infinite and far-reaching characteristics. Artistic conception is actually a unique aesthetic category with national characteristics in China.
China's guqin is mainly a musical instrument of literati, which belongs to indoor elegant music for self-entertainment, so it pursues profound artistic conception. The application of the concept of "one" in Qin Xue probably began in the Han Dynasty. Huai Nan Zi said: "If my brother is concerned about things, he can't be compared with his younger brother. He wrote that the more angry he is in the afternoon, the more he is on the string." "Custom Pass" also said: "Playing the piano, listening to it, means between mountains and rivers", "What he has learned and used, focuses on the piano meaning." It can be seen that the piano, as a kind of trust, is a spiritual connection.
Guqin music is mainly influenced by Confucianism and Taoism. Because the latter views the universe with carefree eyes, it has a far-reaching influence on artistic practice. Whether it is the repertoire, timbre, musical structure, performance posture and other different levels, it embodies an elegant, soft and gentle style, which tends to be elegant and quiet. "Harmony and elegance" and "lightness" can be said to be the aesthetic taste and ideal style of Morning advertised by Qin music, and the embodiment of Confucianism and Taoism philosophy in music aesthetics can also be seen. The artistic conception pursued by this style is naturally a realm of tranquility, leisure, emptiness, quietness and seclusion. Because it can be empty, static, deep and far. Far-reaching can accommodate everything, and everything is in the chest. It can be seen that Qin Le's artistic conception emphasizes an infinite and profound realm. The extreme point of this realm is that it can only be understood but not expressed, that is, the so-called "implication", "unexpected rhyme" and "unexpected taste" One of the most important aesthetic works in guqin, Xu's "Western Mountain Qinqing" in Ming Dynasty described this realm as "its infinite possession, incredible." ; "There is infinite taste in the piano, and it is inexhaustible"; "twists and turns, sparse and dense, ups and downs, broken reunion, all depend on the nature of sound, but on the depth of meaning." The realization of this realm is an independent realm of hope and ease, such as: "deep mountains and valleys, old trees and cold springs"; "Shan Ye is quiet in autumn, the moon is high and the forest is high"; "The breeze blows away and the stone flows cold"; "the mountains are quiet and the trees are quiet."
Qin Le's realm is "endless", "endless", "extensive and profound" and "inexhaustible", and expresses the richest spiritual connotation with the least acoustic materials, so the piano is light and sparse, and the piano is intended to be beyond the strings, which means endless words. Tao Yuanming's thought of "but knowing the fun of piano, why bother playing on the strings" is a philosophical thinking that emphasizes the significance and overtones of piano music to the extreme. Shen Kuo's evaluation of the monk Yihai in A Qin in the Northern Song Dynasty is: "The first sea lies not in the sound, but in the bleak meaning, which is beyond the sound". Guqin is a static art. Therefore, when playing the piano, we should emphasize the harmony between the quiet external environment and the leisurely internal state of mind, in order to pursue the artistic realm of harmony between piano center and music and harmony between subject and object.
Qin Le not only pays attention to meaning and artistic conception, but also pays attention to quietness and distance, and his expression techniques are mainly lyrical and expressive. Yang Zongji, a pianist in the early years of the Republic of China, said that Qin Le's artistic expression techniques were "pictophonetic characters, pictographic characters and knowing". Understanding dominates onomatopoeic words and pictographic words, because the latter two are still not separated from the superficial materialized form of music, and must be promoted to understanding in the final stage. "Yi" is an abstract subjective spiritual realm, so it is infinitely ethereal. China's artistic application of the unity of opposites between reality and falsehood, and the embodiment of the natural world outlook of "the coexistence of reality and falsehood" and "the combination of reality and falsehood" are all embodied in Qin music, rather than direct imitation and indirect pictographs. Only when the scene is integrated can it be as real as one, and the ethereal meaning can be expressed with limited materials. "The essence of sound depends on the depth of meaning", which makes people feel carefree and profound. In Qin music, imitative works only express the yearning for nature in their hearts, and there are few substantive imitators.
Shaanxi opera music attaches importance to meaning, so it has the characteristics of scattered board, slow rising and slow entering in music practice, and it also matches people's natural breathing with sentences as a unit, reflecting the rhythm and time changes of people's inner feelings. In Qin music, weak vibration is often used to express people's deep emotional and physiological foundation. What Qin music reflects is mostly to simulate the endless vitality and changes of nature, such as Running Water, Flying Goose in Pingsha, Alas, or lyric works such as Three Layers in the Sun and Remembering the Old. In many scenes, it is full of emotions or scenery, and people's spirits can be sent and traveled before they are interested.
In order to pursue and express lofty and far-reaching artistic conception, Qin music emphasizes the realm of "sounding far away and looking out". This realm is just the opposite of the numerous voices of "pop music". On the contrary, the piano sound in Qingyuan is beautiful, so the piano sound is often characterized by "light songs and little sounds". That kind of piano music may not touch people's ears, but it can touch people's hearts. Because of this aesthetic consciousness of harmony, quietness, quietness and antiquity, more "masturbation" in Qin music is regarded as heresy by some conservative musicians.
Qin Le is "lonely and silent" and "light and bright", with implicit beauty and profound intention. Without long-term cultivation, it is difficult to have a profound understanding. The emptiness of his artistic conception coincides with the direct expression of Zen. The highest realm of Zen is not to make a statement and realize the present, which is actually the most illusory transformation realm. Music itself does not need words to understand the inner nature. The depth, distance and quietness of the artistic conception pursued by Qin Yue must be in harmony with the inner emptiness and quietness. Doing this can be said to have reached the realm of Zen. This is also the reason why Qin is also called Qin Dao and Qin Chan. Since guqin came into being, guqin has been recorded in all previous dynasties.
Zhou Dynasty: As the accompaniment of court elegant music, the right hand mainly played scattered notes, with the number of strings ranging from five to twenty-seven. Mainly as an accompaniment to singing. As pure instrumental music, there are stories about Boya and the mountains and rivers of his childhood (see Lv Chunqiu and Liezi). Famous violinists are in the Spring and Autumn Period, in the Warring States Period and in Zhou Dynasty. The famous Qin songs are Mountain Flowing Water and Spring Snow.
Han dynasty: the lyre system was basically finalized, and the fingering of the left hand was greatly developed. Famous monographs on Qin studies include Huan Tan's New Theory, Cai Yong's Cao Qin, Yang Xiong's Qin Qingying and Liu Xiang's Qin Shuo. The famous Qin Le includes Song of the Assassination of the King of Korea, Five Alleys of Cai, Farewell to Crane and Ma Yin Great Wall Grottoes.
Wei, Jin, Southern and Northern Dynasties: A number of literati yearned for seclusion, such as Ruan Ji, Ji Kang and Zuo Si in Wei and Jin Dynasties, Dai Ai, Zong Bing, Liu Yun and Liu Xie in Southern and Northern Dynasties. Other famous artists include Cai Yan, Ruan Xian and Liu Kun in Wei and Jin Dynasties. The famous Qin music includes Guangling San, Drunken Man's Drinks, Three Lane of Plum Blossoms, Crying Black at Night, and the earliest extant music, Jieshi Tiao You Lan (biography of Liang Qiuming in Southern Dynasties). Important monographs on Qin are Ji Kang's Fu Qin, Xie Zhuang's Qin Lun, Qu Zhan's Qin Sheng Tu and Chen Zhongru's Qin Fingering.
Sui and Tang Dynasties: Tang Caorou invented the subtraction spectrum and developed the technique of piano making. The famous musicians in Qin Dynasty are Li Yi, He Ruobi, wangtong and Wang Ji in Sui Dynasty, and Zhao Yili, Dong, Xue, Chen Kangshi and Chen Zhuo in Tang Dynasty. The famous Qin songs include Big Hu Jia, Little Hu Jia, Zhao Jun Fen, Li Sao, Three Layers of Yangguan, and Tune. The monographs about Qin include Xue's Voice and so on.
Song and Yuan Dynasties: producing pianos with one string, two strings, seven strings and nine strings. The popularity of Gepu, Jiangxi and Zhejiang. The popularity of tunes (Shaanxi Opera) in the Northern Song Dynasty. In the system of Qin monks in the Northern Song Dynasty, Qin monks were all in one place, and they all knew their reasons in Yihai. There are Ouyang Xiu, Shen Zun, Cui Xian and Su Shi; There are Zhejiang schools, Yang Zan, Xu and Mao Minzhong. In Jin and Yuan Dynasties, Shi Xiu of Miao nationality and Lu Ye were brilliant. Representative Qin songs include Eighteen Beats of Hu Jia, Songs of Chu, Xiaoxiang Water Clouds, Fishing Songs, Zepan Fu, Drunken Man's Meaning, Ancient Resentment and so on. There are Zhu's Qin History, Cui Zundu's Qin Notes, Liu Ji's Qin Art, Chen Minzi's Qin Rhythm and Zequan's Rhythm Fingering. The early existing forms of subtractive chromatography are Gu Fen in Song Dynasty's Song of Taoist Baishi, Huang Li Yin in Yuan Dynasty's Guang Ji and Dong Qin Pu by Song Yangzan.
Ming Dynasty: Qin School was very prosperous, and famous Qin musicians included Xu Zhonghe, Yan Zheng and Qingshan Xu. Representative qinqu include Qiu Hong, Pingsha Goose, The Fisherman's Question and Answer, Shuowen Jiezi and so on. On Qin, there are Leng Qian's Sixteen Methods of Qin Yin and Qingshan Xu's West Mountain Qin Qing, which are popular in printing and engraving.
Qing Dynasty: A large number of Guqin music collections were published, including Zhuang Zhenfeng, Cheng Xiong and Xu Qi. Qin Le is represented by Shuixiancao and Dragon Vanilla. There are Dai Yuan's Eight Laws of Guqin, Jiang Wenxun's The Essence of Qin Xue and Zhuang Zhenfeng's Heart of Qin Xue-for example.
The famous musicians in modern times include Zhu of Fujian School, Zhang Kongshan of Sichuan School, Wang Puchang (Xin Yuan), Xin Kui, Wang Rubin, Huang Mianzhi and Yang Zongji of Zhucheng School. Representative pieces of piano music include Running Water (Piano Music of Tian Wen Ge), Drunk Fish Singing Night, Nagato Complain, Guan Shanyue and so on. His works include Yang Zongji's series, Zhu's Gu Zhai Music Score and Chen Shiqi's Song Creation Essentials. Introduction of Gongchi notation in Qin music. (Qin Xue Series-Qin Jing).
In the early modern times, the activities of the Qin Society prevailed, and the theories of Qin studies mainly included Supplement to the History of Qin, Continuation of the History of Qin, Qin Shu's Records, Golden Publication of Qin Yu Society, Guqin Score of China Music Research Association and Beijing Guqin Research Association, Biographies of Qin People in Past Dynasties, etc. Qin music includes "Remembering the Old Friend" and "Crying for the Face". The implementation of guqin reform.
Late modern times: a large number of new Qin music were created, and Guqin music became symphonic, and professional composers joined the ranks of Guqin creation.
Late modern times: a large number of new Qin music were created, and Guqin music became symphonic, and professional composers joined the ranks of Guqin creation.