Guqin structure
The length of a piano is generally about three feet six inches and a half (about 120- 125 cm), which symbolizes 365 days a year (just like 365 degrees on Sunday). Usually about six inches (about 20 centimeters) wide. Generally about two inches (about 6 cm) thick. Qin was first made according to the shape of a phoenix, and its whole body corresponds to the phoenix (or human body), including head, neck, shoulders, waist, tail and feet.
The upper part of the "piano head" is called forehead. The lower end of the forehead is inlaid with hardwood supporting strings, which is called "Moon Mountain", also known as "Lin Yue", and is the highest part of the piano. There are two sound grooves at the bottom of the piano, the larger one in the middle is called "Dragon Pool" and the smaller one at the tail is called "Phoenix Marsh". This is called going up the mountain and down the river, and there are dragons and phoenixes, which symbolize the world. There is a hardwood strip named "Lu Cheng" on the forehead of Yueshan Mountain. There are seven "string eyes" on the table, which are used to tie strings. There are seven "Qin Zi" under it for tuning. On the side end of the piano head, there are also "phoenix eyes" and "guards". From the waist down, it is called "the end of the piano". The end of the piano is inlaid with a kind of hardwood "Dragon Gum" with shallow grooves, which is used for threading. The decorations on both sides of the dragon glue are called "crown angle", also known as "focal tail".
The exposed parts of the seven strings pass through Yueshan and Gui Long, and become a pair of "goose feet" at the bottom of the piano, symbolizing the seven stars.
There are two hidden grooves in the belly and head of the piano, one is the tip of the tongue, the other is the sound pool, and the other is the sound receiving end, also called rhyme marsh. Corresponding to Longchi and Fengman, there is often a "Yin Na" in every place. Yinna in Longchi has a "Tianzhu" on the head side and a "pillar" on the tail side. When making a sound, "the sound wants to pass by, but it lingers, but it has a aftertaste." Because the piano has no "pin" (column) and "code", it is very convenient to play flexibly, and it has the characteristics of extremely long effective strings, large vibration amplitude of strings and endless reverberation, so it has its unique hand-walking sound.
As far as structure is concerned, the structure of each part of the piano is very reasonable. It is not too big, not only easy to carry, but also beautiful and generous. The shape of the piano is pleasing enough. It can also be seen from the naming of piano parts that the piano system is influenced by Confucianism.
The front of the piano is wide and the back is narrow, which symbolizes the difference between honor and inferiority. The five strings of official, business, horn, levy and feather symbolize the five social classes of monarch, minister, people, affairs and things. The sixth and seventh strings added later are called Wen Hewu, which symbolizes the harmony between the monarch and the minister. The twelve emblems symbolize December respectively, and the largest emblem in the middle represents June, symbolizing leap month. Guqin has three timbres: overtone, bending and scattering, which symbolize the harmony between heaven, earth and people respectively. The symbolic significance of the naming of these guqin shapes actually reflects the Confucian thought of rites and music and the importance that China people attach to harmony. Because the function of etiquette is to protect the individual, make the personality work and have fun with it, and its function is to be in harmony with the group. The combination of rites and music can make individuals and groups adjust each other and form a peaceful and reasonable life between people. Therefore, the implementation of these two seemingly opposite techniques of rites and music is to achieve the purpose of complementing each other and harmony. It can be seen from the social order and grade name borrowed from the form name of guqin that its production form contains profound educational meaning.
Guqin modeling
Guqin has beautiful shapes, including Fuxi style, Zhong Ni style, Julian style, sunset style, brainwave style, banana leaf style, Shennong style and so on. Mainly according to the different neck and waist shapes of the piano body. Lacquer has broken lines, which is the symbol of the ancient piano. Due to the vibration of long-term performance and the difference of wood and paint base, all kinds of broken lines can be formed, such as plum blossom break, cow hair break, snake belly break, ice breaking, turtle pattern and so on. A broken piano is more valuable because of its clear sound and beautiful appearance. The ancient famous pianos include Luqi, Jiaowei, Chunlei, pure and pure, the legacy of the Great Sage, and Pei Huan of Xiao Jiu.
Guqin evolution
Qin Tang, especially the Guzheng in the Tang Dynasty, is plump and round in appearance. In most existing Qin Tang, two pieces of paulownia wood are often stuck on Longchi and plump panels, which are used as counterfeit banknotes. Until the early Ming dynasty, there were still piano makers using this method. Qin Tang's broken sentences are mostly snake belly broken, as well as ice broken and running water broken. Its surface paint ash has two colors: ink and chestnut shell, and cinnabar paint was added when future generations repaired it. The grey tire is pure antler ash, and both sides of the back of the piano are wrapped with linen from bottom to top until the edge of the panel to prevent the upper and lower plates from opening glue. The sides of these pianos are all between 120 and 125 cm. Guqinbian in Song Dynasty, with a total length of1.28cm and a shoulder width of 25cm. Its body is flat and big, and its size is larger than that handed down by Qin Tang, which is one of the main styles in the Northern Song Dynasty. In the Southern Song Dynasty, besides the antique works, the shape gradually became flat and narrow, especially the Zhong Ni-style guqin, which was the main style of making the piano in the Southern Song Dynasty. The main material for making the piano in Song Dynasty is the bottom of tung-faced catalpa or pine-faced bottom. Broken lines include snake belly, ice lines, running water and little cow hair. The gray tires are mainly antler ash, and some people use flax as the base, but rarely. Eight-treasure ash was also used in the late Northern Song Dynasty (that is, gold, silver, pearls and emerald corals were crushed and mixed with antler ash for common use). The Song Dynasty is an important stage in the history of piano-making after the Tang Dynasty. The government even set up a special bureau to make piano, which is called "official piano". Qin-making in Yuan Dynasty was the product of the transition period of Song and Ming Dynasties. Because of the short duration, there are few existing objects. In the Ming Dynasty, the number of pianos was unprecedented. Whether it is the prince of the emperor or the family of officials, there are many people who are good at piano. There are four famous piano makers in the imperial clan: Wang Ning, Hengwang, wangyi and Lu Wang. Among the four kings, Qin was the most famous, which began in Chongzhen. It is reported that there are as many as four or five hundred pieces with the same style and size, all of which are numbered in chronological order and engraved on the abdomen; The name "Zhonghe" is engraved on the back of the piano, and Jing Yi's poem "The Water of the Yangtze River" and the seal of "Lu Chuan" are all painted with eight treasures.
Playing method
When playing, put the piano on the table, pluck the strings with your right hand, press the strings with your left hand and pick up the sound. Guqin has a range of four octaves and two tones. There are 7 scattered tones, 9 overtones1tone 147. There are many ways to play, such as supporting, breaking, rubbing, picking, hooking, picking, hitting, picking, turning, poking, pinching, rolling and so on. There are songs, songs, notes, bumps, forward, backward, rising and so on in the left hand.
Ancient masters of piano making and their style characteristics.
There were many piano master in the Tang Dynasty. In addition to the Lei family (,,,Lei Jue, Lei), other famous masters are recorded in the literature: Zhang Yue, Guo Gao and. Unfortunately, except for Lei's piano, no works have been handed down. There were many famous musicians in the Song Dynasty. In the Northern Song Dynasty, there were Zhu, Ma Xiliang, Ma Xiren and Monk Renzhi; in the Southern Song Dynasty, there were Jinzhou, Jin Highway and Chen Hengdao; at the end, there were Yan Zun, Ma Dafu and Mei Siyan. In Song Dynasty, few people carved the year of the piano, and many imitated the Tang Dynasty. The famous piano players in Yuan Dynasty are Yan, Shi and Shi Gu Yun, among which the most famous is Yan. There are many imitations of Zhu Qin, some of which are engraved with "Zhu Zhiyuan" or "Zhu Zhiyuan". I hope collectors will pay attention. There were also many piano master in the Ming Dynasty, such as Tu and Yuan, the most famous of which were Zhang's Respecting Teachers and Paying Attention to Taoism and Shun Xiu. Zhang Dai's Dream of Taoan refers to Zhang Zhiqin as one of Wuzhong's stunts, "being invincible for a hundred years".
Guqin broken grain
Refers to all kinds of broken marks left on the surface of the piano due to the weathering and vibration of the years during the performance. There are many kinds of broken wires, mainly plum blossom, ox hair, snake belly, ice, running water and Longlin. Generally speaking, a piano is not broken for a hundred years, and the broken line varies with the age, which is one of the main bases for collecting guqin.
Essentials of guqin collection
It is very important to identify guqin that the broken lines of guqin will not appear after a hundred years. False broken wires have existed since ancient times, and there are many methods, such as baking with strong fire and then exciting with ice and snow to make them crack; Or paint with protein infiltrated into the ash, steam it after making it, and then air dry it; Or bake with gypsum on the ash bottom. In fact, careful observation shows that the authenticity of the disconnection is still very different. The real broken line is smooth, the end of the line disappears naturally, and the peaks are like swords. However, after the process of cold and hot catalysis or knife engraving, the false broken line is inevitably unnatural and flawed. The inscription of guqin is also an important basis for identifying the authenticity of guqin. The back of the piano is engraved, while the belly of the piano is engraved, which is convenient for the knife engraver to keep, but it is difficult to identify the ink after a long time. The carvings on the abdomen of guqin, such as the adhesion of the upper and lower plates on both sides of the body, are mostly original. If there are traces of reconstruction, it needs to be carefully studied. The most difficult to identify are those who cut open the old piano and carved it with fake money, and those who carved it with fake money when using the ancient wooden piano. Regardless of the back, senior appraisers can also identify it from the customary titles, taboo words of emperors in previous dynasties, and the calligraphy style of a dynasty or a calligrapher. Collectors whose main purpose is playing will definitely regard the timbre of the piano as one of the main standards. When we listen to the sound of an guqin, we know that it is a good guqin with rich and bright timbre, even timbre, bright overtone and response. Some guqin is broken, but playing by the sound will have a "stop", which will affect listening. At this time, we should weigh the gains and losses carefully and don't give up easily. The collection of guqin is generally hung on the dry wall, which should not be laid flat for a long time; If it is laid flat for a long time, it is easy to cause "collapse". Guqin, as a musical instrument, should be played frequently, otherwise it will make the timbre black and astringent, and it will also be eaten by insects.
Guqin mingqu
Three Lane of Plum Blossoms, Pingsha Wild Goose, Guangling San, Xiaoxiang Yunshui, Questions and Answers of Fishermen, Dressing and Dressing, Three Stories of Yangguan, Running Water and Drunk, etc. One of the advantages of guqin is the expression of self-emotion. In the dead of night, the best choice is to play a guqin song to express my feelings.
Guqin graded repertoire
Level 1: Guqin flies to complain about the phoenix, and Guqin Yin Lou Shi Cha.
Level 2: Two cranes listen to the songs of spring night, clear night, bliss and autumn wind.
Level 3: Lou Yuxiaochun Zhong Jing Ci Qi Yan Hui Feng Lei leads Qiu Jiang to fly to Yangguan at night to sing. Three folds of yin are full of rivers and red Cao.
Level 4: Shi Liuquan, immortal, drunkard, Bian Wei, three unique Confucius, easy to return to school, resigned in the autumn night, longing for a trip to heaven.
Level 5: Gull forgot the machine, Chu Song Guan Shanyue Gaoshan Dongting Qiu Si explained Zhang (Pu 'an Mantra) Wang Wen Cao Bijian Liu Quan Yueyang Sanzui Tea Picking Tune Liuyang River Jasmine.
Level 6: Wu Qiufeng Zhuang Changqing Canghai Pingsha Falling Wild Goose Won the Mountain Dwarf Drunk Fisherman Singing Late Double B Contradictions.
Seven grades: Remembering the old friend Nagato, resenting Long Shuo, holding the Lanpei Tianfeng Ring, and holding the snow-capped sons, guarding the clouds, the riverside, the moonlight and the mountains and rivers.
Eighth grade: running water fishing fire question and answer; Meihua Sannong loves Nailuo to fly fishing songs; Dance music of Yao nationality in my humble abode in autumn moon.
Ninth grade: Lisao, Yi Dao, Longxiang, Wu Ye, Qiusai, Hidden Narcissus, Mozi, Shangshi, Yang Chun and Jialoulan.
Level 10: Xiaoxiang Shuiyun Bridge Song Guangling Scattered Autumn Hu Jia Eighteen Beats Youlan Meiyuan Singing the Three Gorges Boat Song Jiang Xue
Famous Qin handed down from ancient times
the Tang Dynasty
Spring in Julian, Qin Lei.
Jiuxiaohuan Qin Pei Fuxi Style
Jiuxiaohuan Qin Pei Fuxi Style
Fuxi style of Chunleiqin
The legacy of the Great Sage Qin Fuxi style
Kuya Xiang Qin Pei Fuxi Style
Great Sage's Legacy of Qin Style
Du youqin lingjishi
Shi Kuang-style Qin Yi Taigu
Plum Blossom and Piano Zhong Ni Style
Old Long Yin Qin Xiang Shi Quan
A pool of boqin Shennong style
All-flying Qin Julian room
Song dynasty
Yu Hu Bing Qin Shen Nong Shi
Chaos Cai Qinling's official style
Wanhe Qin Song Zhong Ni style
Tiekeqin rheumatism stone
Haiyueqing Qin Hui Zhong Ni Style
Deming
Helaiqin Sunset Style
Zhonghe Qin Liezi style
Zhu Gongwang Qinjiao Night Market
He Mingqiu Yueqin He Mingqiu Lunatone
schools of guqin
First, the concept of the Qin school
(1) What is the Qin School?
A hundred schools of thought contend can play a strong role in promoting academic development. So is Qin culture. Qin culture itself is a very personalized art, and different regions and teachers have different styles of piano players. In the same area, the piano players under the same teacher have different styles. Different musicians will have different understandings of the same track and form different styles. Therefore, in the field of piano, there are also many schools. The so-called schools refer to academic schools and literary schools. Factions here refer to different groups that discuss learning according to common principles or styles. In the field of Qin culture, as in other academic fields, there are many artistic viewpoints and playing styles. Qinists follow some common viewpoints and styles of Qindao and form a certain group of qinists, which is called Qinpai. The so-called common characteristics of the same piano school generally depend on the local color, the teacher's background, the biography on which the school is based, the viewpoint of piano science and the basic playing style.
(2) How did the Qin School come into being?
How did the Qin school come into being? Qin Le is the external embodiment of human mind. Different musicians' understanding of Qin culture is naturally influenced by their talent, personality, personal accomplishment, ideological realm and psychological state. With the different understanding, it is revealed that under the finger, the charm is different and different artistic styles are formed. It is natural that people with similar styles will eventually form a piano school. The formation of Qin School can be summarized into three main factors, namely, regional influence, the influence of teachers and different biographies.
The so-called regional influence means that musicians in the same region can easily find teachers and friends and learn from each other. In addition, folk customs are similar, and their personalities are often similar. With such mutual influence, it is easier to form a tacit understanding, form the same or similar understanding and style, and finally form the Qin school.
The so-called influence of learning from others means that outstanding violinists are unique because of their profound attainments and are admired by the public, so that violinists learn the piano one after another. In this way, different mentoring systems have been formed. Musicians under the same teacher, following the teacher's instruction, often have the same or similar understanding of the piano way and performance style, and finally form the piano school.
The so-called different music scores mean that with the popularity of music scores, different musicians learn piano according to different music scores. Musicians who study the same score are more likely to form the same or similar understanding and style, and finally form the piano school.
It has been recorded in schools in Qin Xue since the Tang Dynasty. As Zhao Yili said in Sui and Tang Dynasties, "Wu Sheng is quiet and graceful. If the Yangtze River is wide and the long river is slow, there will be a national wind. The voice of Shu is impatient, and if the waves rush, they will be handsome for a while. "
In the Northern Song Dynasty, there were also schools such as Shi Jing, Zhejiang and Jiangxi. Some records commented: "Shi Jing is too strong and Jiangnan is frivolous, but Zhejiang is not wild and literature is not historical."
In the Ming Dynasty, Jiangsu, Zhejiang and Fujian schools also had great influence. As Liu Zhu in the Ming Dynasty said, "There are no 120 people in Fujian, no 134 people in Jiangxi and no 167 people in Zhejiang."
After the late Ming and early Qing Dynasties, as for modern times, famous Qin school artists appeared one after another, such as Yushan, Guangling, Pucheng, Fan Chuan, Jiuyi, Zhucheng, Mei 'an and Lingnan.
Modern communication technology is developed, transportation is convenient, and there are many written and audio-visual materials, which provide modern musicians with convenient learning conditions and enable them to seek famous teachers and explore piano learning. Therefore, in the field of modern Qin culture, various Qin schools can communicate with each other, integrate with each other and learn from each other. Therefore, many modern pianists can absorb the strengths of many schools and form their own independent and distinctive styles.
Second, the introduction of famous schools
(A) Zhejiang School
Name of School: Zhejiang School, Zhejiang Spectrum, Zhejiang Cao Formation Period: Late Southern Song Dynasty.
Founder: Guo Mian (Wang Chu) Main style: smooth and peaceful.
Representatives: Chuwang Guo, Mao Minzhong, Xu, Xu Qiushan, Xu, Xu Zhonghe, etc.
Representative Qin music: Xiaoxiang Shuiyun, Fisherman's Song, Woodman's Song, Hu Jia's Eighteen Beats, etc.
Important piano works: (Chuwang Guo), (Tong Yuan), Xia Waiqin (Gold), Qin (Xu), Xue Meiwo Jianrun Qin (Xu Zhonghe), Wugang Qin (Yellow String), Xingzhuang Taiyin sequel.
(2) Yushan School
School name: Yushan School and Cooked School.
Formation period: Founder of late Ming Dynasty: Yan Zheng (Tianchi)
Main style: subtle and distant, moderate and broad.
Representatives: Yan Tianchi, Xu Shangying, Wu Jinglue, etc.
Representative Qin music: Sleeping in Qiu Jiang Night, Prelude to a Beautiful Night, Xiaoxiang Water Cloud and other important Qin music: Song Xian Ge Pu (Yan Tianchi), Rhubarb Ge Pu (Xu Shangying) and so on.
(3) Guangling School
School name: Guangling School
Formation period: Qing Dynasty
Founder: Xu Changyu, etc
Main style: upright, ups and downs, free and long.
Representative figures: Xu Changyu,,, Wu Xuan, Qin, Shi Kongchen, Tao, Zhang Ziqian, Liu, etc.
Representative Qin music: Dragon Vanilla, Menong, Pingsha Wild Goose, Xiaoxiang, Guangling San, etc.
Important piano works: score of Chengjiantang (Xu Changyu), score of Wuzhizhai (Xu Qi), score of Ziyuantang (Wu Xuan), score of Jiao 'an (Qin), score of dead wood Zen (releasing empty dust), etc.
(4) Pucheng School
School Name: Pucheng School
Formation period: Qing Dynasty
Founder: Zhu
Main style: delicate fingering, natural and refined, slow and moderate.
Representative figures: Zhu, Xu Yuqiao, Zhang He, etc.
Representative Qin music: The Fisherman's Questions and Answers, Ping Sha Yan, Three Layers of Yangguan, Spring on the Stone, etc.
Important piano works: Music Score of Chuncaotang (Su Qinshan), Music Score of Guzhai (Zhu), Introduction to Qin Xue (Zhang He), etc.
(5) Pan-Sichuan School
School name: Pan-Sichuan School, Sichuan School and Shu School. Formation period: Qing Dynasty.
Founder: Zhang (Kongshan) Main style: unrestrained and magnificent.
Representatives: Zhang Kongshan, Gu Yucheng, Gu Juan, Gu, Xia Yifeng, Cha Fuxi, Yu Shaoze, etc.
Representative Qin music: running water, drunken fisherman singing at night, Confucius reading the Book of Changes, Pu 'an mantra and so on.
Important piano works: Tian Wenqin's score (Tang Songxian), Bai Pingzhai's score (Gu Juan), etc.
(6) Nine factions
School Name: Nine Schools
Formation period: Founder of Qing Dynasty: Yang Zongji (Baishi)
Main style: vigorous and solid, paying attention to the rhythm of singing.
Representative figures:, Bai, Guan Pinghu, etc.
On behalf of Qin Le: Liushui, Guangling San, Hu Jia Eighteen Beats, Youlan, etc.
Important piano works: Qin Xue Series (Shi Yang Hundred), etc.
7. Zhucheng School
School Name: Zhucheng School
Formation period: Qing Dynasty
Founder: Wang Puchang, Wang Yimen
Main styles: Qingyuan (long), beautiful and lingering (door).
Representatives: Wang Puchang, Wang Yimen, Wang Xinyuan, Wang Yanqing, Wang Xinkui, etc.
Representative Qin music: Nagato Complain, Three Layers of Yangguan, Guan Shanyue, etc.
Important piano works: Music Score of Tong Yin Shan Tang (Wang Puchang), Music Score Revision (Wang Yimen), etc.
(8) Mei On School
School name: Meian School
Formation period: Qing Dynasty
Founder: Wang (Yan Qing), Xu.
Main features: smooth as a song, beautiful and lingering, and a wide range of songs.
Representative figures:, Xu, Shao Dasu, etc.
Representative qinqu include Ping Sha Yan, Nagato Complain, Guan Shanyue, Sleeping in Qiu Jiang, Dressing and Dressing, etc.
Important piano works: hall music score (Mao style), Mei 'an music score (Xu), etc.
(9) Lingnan School
School Name: Lingnan School
Formation period: Qing Dynasty
Founder: Huang Jingxing
Main style: elegant.
Representative figures:, Li Baoguang, Zheng, Yang Xinlun, etc.
Representative pieces of Qin music: Liu Quan on the Blue Sword, Questions and Answers on Yuqiao, Nostalgia for the Past, Jade Tree in the Wind, Gull Forgetting Machine, Nightingale, etc.
Important piano works: Gugang Piano Score, Wu Xueshan Fang Piano Score (Huang Jingxing), etc.
Guqin aesthetics
Guqin music is mainly influenced by the Confucian thought of harmony, gentleness and sincerity, and the Taoist thought of conforming to nature, being loud and happy, and being indifferent to inaction. 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 static, simple, hidden, 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 ugly" and that "no one listened to it". "Don't listen" and "Nobody listens" are actually because the musical style of Guqin belongs to the static beauty of stillness, emptiness, depth, stillness and quietness. 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 of playing style like Guqin. As early as the Six Dynasties, Qu Zhan put forward the requirements of dispersion, overtone and sound quality. At the end of the Tang Dynasty and the Five Dynasties, Liu proposed that "beauty is not gorgeous, sadness is not harmful, quality is not deceitful, softness is smooth, tranquility is not moving, rhyme is tortuous, and sound is lonely" 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.
In fact, Leng Qian's Sixteen Methods of Piano Sound puts forward sixteen aesthetic categories, trying to summarize and lay the foundation for the aesthetics and performance of piano music. 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. The summary and connotation of the Sixteen Laws are briefly analyzed as follows:
(1) Lightness —— On the moderate and clear pronunciation (the relationship between skill control and interest expression);
(2) Looseness-On the beauty of commotion in singing (skill theory);
(3) Brittleness-on the flexibility and elasticity of finger and wrist strength (skill theory);
(4) Slippery-on the difficulty of fingering skills in the performance of slipperiness (skill theory);
(5) high-on the profound and lofty artistic conception of Qin music (artistic conception theory);
(6) cleanliness-on the harmony between piano products and personality (moral theory);
(7) Qing-on the importance of quiet and clean environment, mood, musical instruments and other conditions in exercise (artistic conception theory);
(8) Emptiness-On the importance of combining the internal and external factors of "peace of mind" and "sound emptiness" (the theory of artistic conception);
(9) Elegance —— On the elegance of piano sound, which stems from the elegant and leisurely character of piano players (moral theory);
(10) strangeness-On the strangeness of Yayue and Qin Dan's music lies in the decorative fingering such as fiddling and the handling of the change between the inheritance and combination of phrases (expressionism);
(1 1) Gu-On the original style of Qin music comes from generous bearing (style theory);
(12) Lian-On the elegant and light nature of piano sound (style theory);
(13) Zhong-On the disadvantages of bias and the beauty of words (expressionism);
(14) and-the essence of harmony lies in the excessive skill (essentialism);
(15) Illness-On the treatment of Ji Xu by fingering (also on skills and artistic conception);
(16) Division —— On the change of fingering Xu Shu (Essentials).
Combining these sixteen outlines, the descriptions of their contents can be combined in different ways. Generally speaking, it still focuses on style, artistic conception, morality and skills. Descriptors belonging to more abstract artistic conception are high, clear and empty; On Qin's playing skills are always crisp, loose, light and slippery; On purity, purity, emptiness and seclusion. The quality and characteristics of the piano; On the piano style, there are ancient and light.
Sixteen methods can also be divided into four groups: relaxed and crisp, noble and pure, pure and empty, secluded and strange, moderate and violent. The first group is the description of the external performance style, the second and third groups are the description of the internal artistic conception and phonological expression when playing, and the fourth group is the requirement of the overall rhythm and speed balance of music when playing. The lightness and crispness of the first group is not only the skill here, but also one of the nine virtues of piano materials. Odd is characterized by lightness, crispness, lightness, lightness, looseness, firmness, crispness, firmness and smoothness. Generally speaking, the outline and content of the Sixteen Laws are mostly abstract, literary and visual descriptions, and there are few theories of practical coordination skills, which easily leads to aesthetic formalism.
The other is Xu Shangying, an important figure in the piano field in the late Ming and early Qing Dynasties. He was influenced by the thought of "beautiful, quiet, harmonious and far-reaching" in Cui Zundu's Notes on Qin in Song Dynasty (953- 1020), and wrote the most important monograph of Qin Studies, Western Mountain Qin Qing. Xu Shangying, alias Qingshan, was born in Dongcang, Louxian County, and his "West Mountain Qinqing" can be found in "Rhubarb Pavilion Spectrum". Among them, the summary and connotation of 24 cases are briefly analyzed as follows:
(1) and-the sum of sound string, intonation, sound and meaning (also on essence and skills);
(2) Quiet-On the simplicity of piano sound, it lies in adjusting the air and practicing the fingers (also on the coordination between personality cultivation and style);
(3) Qing-put forward "Zhen Jing Justin" as the connotation of piano degree, and pointed out the importance of climate in performance (also on wood and skills);
(4) Far-on the artistic conception of imagination and implication (artistic conception theory);
(5) Ancient-on the distinction between elegance and vulgarity of piano sound (on form and style);
(6) Lian-on the loneliness and silence of Qin vowels (interest theory);
(7) Tian-on Tian's gentleman quality and moral cultivation (interest theory);
(8) Yi-On three fat's Transcendence actually comes from Qin people's moral transcendence (On Morality and Cultivation);
(9) Elegance-on the elegance of the piano, not kitsch but easy to escape (style theory);
(10) Beauty —— On the difference between the beauty and charm of piano sound is ancient and enchanting (style theory);
(1 1) Brightness-On the brightness of piano sound comes from the crisp sound of stones made by left and right hands (timbre theory);
(12) Pick-up-Pick-up from the air of the finger bomb after several exercises (timbre theory);
(13) Cleanliness-On the interest of piano sound lies in the strictness and purity of fingers (realm theory);
(14) moistening-On the harmony and moistening of piano sound (timbre theory);
(15) circle —— On how to deal with the transition between intonation, playing and phrase transition (skill theory);
(16) Hardness —— On the sound of stone (skill theory);
(17) Macro-on the piano sound must be stiff and elegant, and the downward finger must be generous and simple, so as to conform to the ancient tune (realm theory);
(18) Exquisiteness —— On the rhythm, the turning point of chapters and sentences, the conjunction and the subtle handling and grasp of the whole article (the theory of technical interest);
(19) Slip-there is no delay in the firmness and flexibility of fingers in mastering skills (skill theory);
(20) Health theory refers to the coordination of flexibility, vitality, piano rushing and elegance (skill theory);
(2 1) lightness-On the change of tone lightness and lightness are inseparable from the purpose of neutralization (the theory of quantity and profit);
(22) Emphasis-on the combination of emphasis and lightness in piano playing methods (volume and skill theory);
(23) Being late-on the relationship between hope and interest (interest and artistic conception);
(24) Speed-On the purpose of quick fun (on skills, interest and artistic conception).
Although twenty-four styles have eight more categories than sixteen styles, their structures are basically organized in a series of aesthetic categories. Part of the contents of twenty-four cases are the same as those of sixteen methods. Such as the sum of the two, clear, ancient, simple, clean, light, the static of the twenty-four potential, the virtual of the sixteen laws; The elegance of twenty-four conditions and sixteen methods; Round of 24 conditions, loose of 16 laws; Health in 24 situations and fragility in 16 laws; The love at the end of twenty-four and the promise of sixteen laws; And the speed of 24 cases and the disease of 16 methods.
Generally speaking, the twenty-four conditions are mainly the requirements for the internal artistic conception and external style of Qin music, the aesthetic value and standards, and the aesthetic standards put forward by Guqin art. The general feature of this content and form is the whole Guqin style.