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The guqin is the oldest string musical instrument in China. It is said to be created by the ancestors of the Chinese nation such as Fuxi and Shennong. It has a very long history. It is ranked first among the four arts of "qin, chess, calligraphy and painting". It is a compulsory instrument for ancient literati. In history, there were no less than hundreds of sages and ancestors who accompanied the zither and famous zither masters, such as Confucius, Zhuangzi, Cai Yong, Ji Kang, Bai Juyi, Fan Zhongyan, Yan Zheng, Zhang Kongshan, etc. The guqin has formed a unique inheritance system.

From the emergence of the ancient qin to the long history of thousands of years, a complete set of traditional Chinese elegant culture - piano culture, which gradually formed: the humanistic connotation given by the qin body shape, the traditional cultural and ideological and moral qualities that the qin player needs to possess, the emphasis on morality, prohibition of evil, beautiful customs, the educational function of elegance, as well as the scientific, ancient and irreplaceable notation methods, rich and delicate, and the requirements for environmental creation that other instruments cannot match; and left behind more than 100 piano scores, more than 600 piano pieces, more than 3,000 different scores, more than 1,000 piano pieces, more than 1,000 piano pieces and postscripts, more than 300 piano songs, and a large number of piano monographs and piano theories scattered in documents of all dynasties, etc., which can be described as a grand view. Contemporary piano player Li Mingzhongxian The student commented: "The Chinese guqin is a profound and profound comprehensive art body that integrates the morality, etiquette, principles and religion in humanities, such as mountains, rivers, wind, rain, thunder and lightning in the universe, the sound of the sky, the sound of the earth, the voice of the human voice and the three-foot piano surface." It can be said that the guqin embodies the essence of Chinese traditional culture and is an outstanding representative of traditional culture. Therefore, in ancient times, the guqin was loved by emperors and generals to literati and hermits, and became a "dao instrument" that cultivates one's self-cultivation, expresses emotions and aspirations, and transforms the spirits, and carries the Tao with the piano. The music of the guqin is sacred and elegant, open and elegant, and the ancients used it to express their sense of qing and express their ideals. It has far surpassed the meaning of music and has become a symbol of Chinese culture and ideal personality. Therefore, the guqin is the most noble instrument in ancient China.

The records of the guqin were first seen in the Book of Songs and Book of Documents. The guqin recorded: "Shun played the guqin with five strings and sang the poems of the southern country, and the world was dominated." It can be seen that the guqin was originally five strings, and there were already seven strings in the Zhou Dynasty. "Fengshu Tong" of Ying Shao of the Eastern Han Dynasty: "Seven strings are the seven stars, the big strings are the king, the small strings are the minister, the Wen King, and the Wu King plus the two strings to match the grace of the king and the ministers." During the Three Kingdoms period, the seven strings and the thirteen emblems of the guqin had basically stabilized and have been passed down to this day.

The main forms of playing guqin are qin songs and solo music. According to literature records, in the pre-Qin period, in addition to being used in suburban temple sacrifices, court meetings, ceremonies, etc., it was mainly popular among the sects and above, and became popular among the folks after the Qin Dynasty. Regarding the form of vocal accompaniment with qin music, there were records of "plitting the zither to chant the zither" as early as the "Shangshu". In the Zhou Dynasty, zither accompaniment was often used to sing, called "string songs", which are the so-called zither songs since the Tang and Song Dynasties. From the "Qin Cao" written by Cai Yong of the Han Dynasty, there were five poems, namely the string songs of Zhou, and the "twelve zithers", "nine yin" and "hejian qin songs" were all sang with the zither.

During the Spring and Autumn Period and the Warring States Period, the solo music of the guqin had a certain artistic expression ability, such as the legend of Boya playing the qinzi. At that time, famous guqin masters were Shi Juan from Wei, Shi Kuang from Jin, Shi Wen from Zheng, Shi Nang from Lu, etc.; famous guqin music such as "High Mountains", "Flowing Water", "Phizar Flying Towards", "Yangchun", "White Snow", etc., all of which have been recorded in history.

During the Han, Wei and Six Dynasties, the art of guqin has made significant progress. In addition to being accompaniment instruments in "Xianghe Song" and "Qing Shang Music", it also appeared in the form of "Danqu". Such as instrumental musical music "Guangling San", "Da Hu Zu Ming", and "Little Hu Zu Ming", etc., reflect an important development stage of guqin as an instrumental musical performance. Cai Yong and his daughter at the end of the Han Dynasty and Ji Kang in the Wei and Jin Dynasties were both famous guqin players and composers at that time. For example, Ji Kang was good at playing the famous guqin song "Guangling San" and has been passed down as a historical story. The famous musical music created include the four rings of Ji's family: "Chang Qing", "Short Qing", "Long Side", and "Short Side"; the five rings of Cai's family: "On Spring", "Lu Shui", "Secret Residence", "Sitting and Sorrow", and "Autumn Thoughts"; the piano music "Wine Madness" written by Ruan Ji among the Seven Sages of the Bamboo Forest and the "Wine Night Cry" by Wang Yiqing of the Song Dynasty of the Six Dynasties.

During the Sui and Tang Dynasties, music in the Western Regions was prevalent, the pipa rose, and the development of guqin music was suppressed to a certain extent. However, the emergence of guqin scores 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, and made the history of ancient Chinese music into a period of sound that could be followed. Zhao Yeli, Zhao organized the popular guqin fingering scores at that time, and compiled works that explained the performance methods such as "Right-handed Piano" and "Piano-Sharing Piano gestures". The famous guqin music "Jieshi Tu Youlan" was a score of Liang Qiuming in the Southern Dynasty. It is currently a Tang handwritten paper passed down to Japan. It is the earliest and only guqin text score in China.

Tang Dynasty poets Li Jiao, Li Qi, Li Bai, Han Yu, Bai Juyi, Zhang Hu, Yuan Zhen and others all wrote immortal poems for the guqin. Bai Juyi loves the guqin. In "Night Qin", there is: "Shu Qin is solid in nature, and the Chu silk is clear in tune." His guqin is very skilled, and he can play and sing by himself. He even regards the guqin as a friend on the boat. In "Night Boat Helping the Qin", he wrote: "The moon is floating on the moon, and the moon shines on the night river, and there is nothing else outside, and there is only the guqin in the boat. The seven strings are good friends, and the two ears are the soulmate, and the heart is quiet and the voice is quiet, and his hearing is not ancient or modern." Zhang Hu's "Listen to Xu Yuanwai of Yuezhou" also contains: "The jade rules hidden guqin, and the heart of a philosopher and a saint's heart sees the heart of a saint. The wind in the sun is like the legacy, and the nine doubts are the apes and birds chant all over the mountains." This describes the rich expressiveness of the guqin.

Famous zithers of the Tang Dynasty were Zhao Yeli, Dong Tinglan, Xue Yijian, Chen Kangshi, Chen Zhuo, etc. Zhao Yeli summarized the zither school at that time and said: "The sound of Wu is clear and gentle, like the Yangtze River flows wide, and it lasts for a long time. The sound of Shu is irritating and thunder is also a handsome man." It is still in line with the characteristics of the Wu and Shu schools. Dong Tinglan of the prosperous Tang Dynasty wrote "The Great Hu Zi" and "The Little Hu Zi" and other zithers. Xue Yijian summarized the role of guqin music in his "Qin Jue" as follows: "You can observe the style, absorb the heart and soul, distinguish joy and anger, please emotions, calm the mind and worry, enhance courage, distinguish the world, and distinguish ghosts and gods." He also proposed that the performers must "calm the mind and be calm and concentrate on emotions and minds", which was valued by later zither players, thus extending many standards for playing the piano.

In view of the inconvenience of the use of the text and the inconvenience of using the text and Cao Rou created the subtraction score. That is, a kind of score pattern formed by subtracting Chinese characters based on the text and characters, which is similar to the playing symbols, which is an early form of the guqin subtraction score. The famous zither artists in the Tang Dynasty were Dong Tinglan (During the Kaiyuan, Tianbao period), who inherited the most famous Chen at that time from his teacher Chen Huaigu. Zhu Erjia was good at playing the piano music "Da Hu Zuo" and "Little Hu Zuo". Xue Yijian, a zither artist in Tianbao, can play forty big plays and three hundred miscellaneous tunes, and has seven theoretical works "Qin Jue", which is good at playing the song "Three Gorges Flowing Spring", "Hu Zuo", "Wu Ye Cry", "Farewell to the Crane Cao", "White Snow" and other songs. There were also zither music composed by Chen Kangshi, a zither artist in the late Tang Dynasty based on Qu Yuan's "Li Sao".

On the one hand, the guqin in the Song Dynasty showed nostalgic retro tendency. On the other hand, the long-term practice of guqin in the performance of "Xianghe Song" and "Qing Shang Music" has a profound connection with folk music, as well as the historical tradition of the "Old Sound of Chu and Han" of the guqin music, which has not been obscured in the retro tendency, but has developed in a tortuous and ups and downs. Guo Mian (named Chu Wang, born in 1190 and died 1260 years later) and his disciples Liu Zhifang, Mao Minzhong and others made certain contributions to the development of guqin music in the sorting of guqin heritage and creation. For example, the guqin music created by Guo Mian The music of "Xiaoxiang Water Clouds" begins, and the ethereal overtones make people enter the artistic conception of rippling blue waves and smoky smoke. "Floating Canglang" and "Autumn Hong"; "Forget the Ji" and "Wujiang Yin" created by Liu Zhifang; the piano music "Fisherman Song", "Film Filter Song", "Perlan", and "Mountain Residence Yin" created by Mao Minzhong are all passed down to this day. The famous piano music at that time include "Chu Song", "Eighteen Beats of Hu Zu", "Ying on the Zen" and so on; the piano songs include "Ancient Resentment" by Jiang Kui (1155-1221 AD); "Drunk Weng Yin" written by Cui Xian, the Taoist priest of Lushan. "History of the Qin" written by Zhu Changwen of the Song Dynasty, truly records the historical materials of the Qin Dynasty of the Sui, Tang and Song dynasties.

Two pieces of the piano-making school.

Lingnan School

Huang Jingxing, who originated from the Daoguang period, inherited the "Ancient Gang Relics" by his ancestors, and learned more than ten songs from He Luoshu in Xiangshan, and compiled fifty poems into "Wuxueshan Fang Qin Tu". The modern man Zheng Jianhou passed on his learning.

Representative figures of the Lingnan School include Huang Jingxing, Li Baoguang, Zheng Jianhou, Yang Xinlun, etc.; important piano works include: "Ancient Gang Piano Note", "Wuxue Mountain Room Piano Note" (Huang Jingxing). Representative piano music include "Bixiu Spring", "Fishing Spring in the Blue Stream", "Fishermen and Woodcutters' Q&A", "Nostalgia", "Yu Shu Feng Feng", "Guo Er Wang Ji", "Two Cranes Listen to the Spring" and so on; artistic style: Qing and elegant.

Fujian school
Chapter completed!