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\u6839\u64da\u76ee\u524d\u9084\u4e0d\u5b8c\u6574\u7684\u6750\u6599\u521d\u6b65\u5730\u770b\u4e00\u770b\uff0c\u53e4\u7434\u66f2\u7684\u5167\u5bb9\u7d55\u5927\u591a\u6578\u662f\u56b4\u8085\u800c\u7aef\u6b63\u7684\u3002\u8521\u9095\u300a\u7434\u64cd\u300b\u6240\u8a18\u9304\u7684\u56db\u5341\u4e03\u8abf\u5148\u6f22\u7434\u66f2\u7684\u5167\u5bb9\u5927\u9ad4\u4e0a\u662f\u4e0b\u5217\u56db\u985e\uff1a\u5c0d\u7d71\u6cbb\u968e\u7d1a\u7684\u6028\u61a4\uff1b\u5c0d\u9060\u53e4\u958b\u660e\u7d71\u6cbb\u8005\u7684\u61f7\u60f3\uff1b\u5c0d\u793e\u6703\u77db\u76fe\u7684\u53cd\u6620\u548c\u4e00\u4e9b\u793e\u6703\u554f\u984c\u7684\u611f\u50b7\u3002\u751a\u81f3\u5728\u8a69\u7d93\u88cf\u9762\u672c\u4f86\u8aaa\u660e\u662f\u8868\u73fe\u7d71\u6cbb\u968e\u5c64\u7684\u5718\u7d50\u7684\u300c\u9e7f\u9cf4\u300d\u548c\u8868\u73fe\u7d71\u6cbb\u8005\u7684\u5584\u653f\u7684\u300c\u9a36\u865e\u300d\uff0c\u4e00\u5230\u4e86\u53e4\u7434\u66f2\u88cf\u9762\u5c31\u53cd\u904e\u4f86\u4e86\u2014\u2014\u8521\u9095\u80af\u5b9a\u5730\u8aaa\u660e\u5b83\u5011\u7684\u5167\u5bb9\u662f\u8868\u73fe\u5c0d\u7d71\u6cbb\u8005\u7684\u60b2\u61a4\u7684\u3002\u8521\u9095\u7684\u6642\u4ee3\u80cc\u666f\u6b63\u7576\u8457\u6f22\u672b\u7684\u8fb2\u6c11\u5927\u9769\u547d\u300a\u9ec3\u5dfe\u8d77\u7fa9\u300b\uff0c\u4ed6\u6240\u6536\u96c6\u7684\u7576\u6642\u7434\u66f2\uff0c\u5176\u8868\u73fe\u7684\u5167\u5bb9\u5145\u5206\u5e36\u8457\u9769\u547d\u9ad8\u6f6e\u4e2d\u7684\u4eba\u6c11\u6fc0\u70c8\u60c5\u7dd2\uff0c\u9019\u662f\u5f88\u5bb9\u6613\u7406\u89e3\u7684\u3002\u4e0a\u9762\u4e00\u4e00\u8aaa\u660e\u904e\u6211\u570b\u53e4\u7434\u9019\u4e00\u97f3\u6a02\u85dd\u8853\u4e3b\u8981\u662f\u6c11\u9593\u6027\u7684\uff0c\u82e5\u5f9e\u53e4\u4ee3\u53e4\u7434\u66f2\u6240\u8868\u73fe\u7684\u5167\u5bb9\u4f86\u770b\uff0c\u6709\u6642\u4e26\u4e14\u662f\u5177\u6709\u4eba\u6c11\u6027\u7684\u3002<\/p> \u9084\u503c\u5f97\u6ce8\u610f\u7684\u662f\u9019\u4e9b\u53cd\u6620\u793e\u6703\u77db\u76fe\u7684\u53e4\u7434\u66f2\u90fd\u662f\u8868\u73fe\u722d\u53d6\u300c\u8981\u505a\u597d\u4eba\u300d\u548c\u300c\u8981\u505a\u597d\u4e8b\u300d\u7684\u60c5\u7dd2\u3002\u5b83\u5011\u6240\u8868\u73fe\u7684\u4e0d\u662f\u60b2\u89c0\u7684\u6d88\u6975\u60c5\u7dd2\uff0c\u800c\u662f\u6a02\u89c0\u7684\u7a4d\u6975\u60c5\u7dd2\u3002\u82e5\u662f\u5f9e\u73fe\u6642\u7434\u5bb6\u5e38\u5f48\u7684\u548c\u9084\u6709\u8b5c\u672c\u7684\u53e4\u7434\u66f2\u7684\u5167\u5bb9\u8868\u73fe\u518d\u4f86\u5168\u9762\u5730\u7814\u7a76\u4e00\u4e0b\uff0c\u6211\u5011\u9084\u53ef\u4ee5\u767c\u73fe\u6709\u4e00\u90e8\u5206\u548c\u73fe\u6642\u6c11\u9593\u97f3\u6a02\u4e00\u6a23\u662f\u8868\u73fe\u611b\u60c5\u548c\u53cb\u8abc\u7684\uff0c\u53e6\u5916\u9084\u6709\u8a31\u591a\u662f\u4ee5\u67d0\u4e00\u6b77\u53f2\u6545\u4e8b\u70ba\u984c\u6750\u7684\u3002\u4f8b\u5982\u8868\u73fe\u70ba\u5168\u6c11\u798f\u5229\u5805\u6301\u52de\u52d5\u4ee5\u6230\u52dd\u81ea\u7136\u7684\u300a\u79b9\u947f\u9f8d\u9580\u300b\uff0c\u9f13\u52f5\u8fc5\u901f\u9077\u5584\u6539\u904e\u7684\u300a\u98a8\u96f7\u5f15\u300b\uff0c\u8868\u73fe\u865b\u5fc3\u8acb\u76ca\u7684\u300a\u572f\u6a4b\u9032\u5c65\u300b\uff0c\u5207\u6212\u906d\u53d7\u60e1\u52a3\u7684\u793e\u6703\u610f\u8b58\u5f62\u614b\u4fb5\u8755\u7684\u300a\u58a8\u5b50\u60b2\u7d72\u300b\uff0c\u8868\u73fe\u5805\u6301\u771f\u7406\u81f3\u6b7b\u4e0d\u5c48\u7684\u300a\u535e\u548c\u6ce3\u7389\u300b\u7b49\u7b49\uff0c\u9084\u662f\u6709\u4e00\u5b9a\u7684\u73fe\u5be6\u6027\u7684\u3002<\/p> \u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u4e00\u4e5d\u4e94\u56db\u5e74\u5341\u6708.<\/p> \u67e5\u961c\u897f\uff1a<\/strong><\/p> \u7434\u5bb6\u3001\u7434\u53f2\u53ca\u7434\u6a02\u8a55\u8ad6\u5bb6<\/p> \u524d\u4e2d\u570b\u97f3\u6a02\u5bb6\u5354\u6703\u526f\u4e3b\u5e2d<\/p> \u524d\u6c11\u65cf\u97f3\u6a02\u7814\u7a76\u6240\u901a\u4fe1\u7814\u7a76\u54e1<\/p> \u524d\u4e2d\u592e\u97f3\u6a02\u5b78\u9662\u6c11\u65cf\u97f3\u6a02\u7cfb\u4e3b\u4efb<\/p> \u00a0<\/p> Causerie on Guqin<\/strong><\/p> Zha Fuxi<\/p> [I] Forms of Gugin<\/p> Gugqins which are also called seven-stringed gins are no strangers for many people, not only because of stories found very often in novels and theatres about the friendship between Yu Boya and Zhong Ziqi, and the relationship between the marriage of Sima Xiangru and Zhuo Wenjun and gugqin, but also because of the physical gugins that we can see very often in exhibition halls and antique markets. About two thousand years ago, guqin already emerged from the folklore; about three hundred years ago, gugin was ever used as instrument for the accompaniment of some theatrical and rapping music. Later, there are still many people enjoying gugin, and even now, there are still hundreds of people who can play guqins all over the country. Many people use to enjoy gugin pieces very much.<\/p> We have some materials to prove that it (gugin) is one of the important cultural heritages in China. There are music scores which have been preserved in over 90 types of score books (tablatures) for over 1400 years, which have more or less absorbed many valuable melodies of generations. In the past, gugin was loved by people so much that many fairy tales appeared about it. Therefore, it 1s natural that we should pay more attention to it and develop it more.<\/p> The shape and structure of gugin feature with very obvious folklore natures. It is the whole body of the gugin of 2-inch thickness, over 6-inch width and 4-feet length that is used as the part for resonance. On a normal stringed musical instrument, the fingerboard is a narrow and small panel or fret that is usually no wider than one tenth of the instrument itself; while on gugin, it is the most part of the body in 4-inch width and 3-feet length where fingers make actions. The pillars of normal stringed instruments is above players\u2019 left hand, while that for gugin is below players\u2019 right hand. Low-pitch string of normal stringed instruments is at the interior side of players, except for kung\u2019 hou which is limited by its shape and structure; while that for guqin is at the external side of players even though its strings are same in length and there is no limitation due to its shape and structure. The resonator of normal stringed instruments is flat on the front surface and arched on the back side; while that of gugin is arched on the front surface and flat on the back. The resonance hole of normal stringed instruments is on the front side while that of guqin is on the rear side.<\/p> In the music history, some people tended to believe that stringed instruments of the nationalities with higher civilization level are of the same origin in the European and Asian Continental Cultures and this belief is based on the fact that most stringed instruments are unified in their shapes and structures. However, the unique and rather reversed shape and structure of gugin mentioned above actually disapprove such unification. Such difference makes us raise one new question\u2014whether it is possible that people living on both sides of the middle and lower reaches of Yangtze River and Yellow River actually created another system of music cultures in ancient times. We can be assured that gugin actually derived from stringed instruments of Chu State (one state during the Warring States Period\u2014403BC to 221BC) and Han Dynasty (202BC to 220AD) considering stringed instruments that we saw in exhibitions of antiques from Chu State, and shapes and structures of gugin pictures on stone inscriptions of Qin Dynasty (221BC\u2014206BC) and Han Dynasty. Therefore, it is problematic for Xu Shen (S8AD-147AD) to say the shape of gugin was like an elephant. The materials of Xu Shen were somewhat chaotic, and we can at least decide that elephant-like gins are not with \u201cfive strings plus two strings around.\u201d Though we should admit that Babylon gins of the same origin might have come to China as well before Han Dynasty, we are sure there was another origin for Chinese guqins.<\/p> [ll] Gugin has always been popular in the folklore. According to gins mentioned in poems and scriptures recorded before Qin and Han dynasties and those depicted on antiques and pictures unearthed, their shapes and structures were very chaotic before Han Dynasty and did differ from current seven-stringed gins in certain ways. Before Han Dynasty, the number of strings of gins and sehs was not certain. Probably people called those bulky stringed instruments which need players to move the frets to tune up as sehs, and named those lighter ones which require players simply to rotate the pillars to tune upas gins. Vin might be a general name for light stringed instrument in ancient times, and this might be the reason why it got popular always in the folk.<\/p> It is probable that gins from Han Dynasty began to have seven strings. \u201cYa Qin (literally elegant gin)\u201d at that time was the instrument used by folk musicians Xiang Shizhong, Zhao Ding and Long De, and was later sent into the court around 100 BC where the ruling class had enjoyed its elegance until We1 State Period and Jin Dynasty when it was still called \u201cYa Qin\u201d. It seems not until the South Dynasty Period of North and South Dynasties Period (420AD\u2014S89AD) or Shengkang Reign of the end of Han Dynasty at the earliest that the shape and structure of gugins became similar to current ones. They have not only seven strings but also thirteen signia at that time. The earliest Chinese instrumental tablature still preserved today was for guqin scores and was the product of Liang State (one state during North and South Dynasties Period), said to be recorded by folk musician Qiu Ming (500-590).<\/p> The folklore gugin players not only developed the instrument until its shape was fixed and created special gugin scores, but also preserved the folk styles of old music cultures of Chu State and Han Dynasty in that chaotic era of changing dynasties. Folk gugin musicians such as Zhao Yeli, Dong Tinglan and Chen Kangshi not only absorbed many exotic melodies including Zhujia melody and Shenjia melody and made various creations, but also wrote many tablatures and special works on the studies of gugin. Later some scholars dreamed of recovering the ancient ways of playing gugin and looked down upon those musicians\u2019 creations by saying they were superficial and vulgar, and not worthy of spreading, those works therefore, unfortunately, disappeared with time. If not due to those scholars\u2019 despise, what good cultural heritages we should have inherited!<\/p> In North Song Dynasty (960AD\u20141120AD) when recovering the old ways was in the peak and South Song Dynasty (1127AD\u20141279AD) when the whole country hid itself with shame in Southern China, and even in the regions ruled by Liao State (916AD-1125AD) and Jin State (1115AD\u2014 1234AD), it seemed that more scholars began playing guqgins, but fewer folk gugin composers were well-known. For the whole Song Dynasty, we could know some folk gugin musicians such as Sun Daozi and Seng Yihai only from some scriptures on gugin made by the ruling class and scholars. Among the ruling class and scholars, Fan Zhongyan (989AD\u20141052AD) was well-known for his excellence in playing \u201cLu Shuang Cao (Walking on Frost)\u201d, Ouyang Xiu (1007-1072) often discussed with others the aesthetics of gugin, and Su Dongpo (1037-1101) liked playing gugin and could also compose. Su even considered gugin music was that of \u201cpeople of Zheng and Wei States (states during Warring States Period).\u201d All above-mentioned proved that they admitted gugin music came from the folk people. However, their composition works, if the only two preserved tablatures of Song Dynasty\u2014\u201cGu Yuan (Sadness of the Old Times)\u201d and \u201cHuang Ying Yin (On Whitethroat)\u2019\u2014 were considered, couldn\u2019t match those of folk musicians before Song Dynasty at all and didn\u2019t have any folklore styles either. Nevertheless, many folk gugin musicians with strong senses of folklore people emerged again after the end of Song Dynasty. Guo Chuwang living over Song Dynasty and Yuan Dynasty composed the big set of scores \u201cXiaoxiang Shuiyun (Clouds and Mists of the Xiao and Xiang Rivers)\u201d which is full of power and beats. Mao Minzhong composed the powerful scores of \u201cQiao Ge (Songs of Woodman).\u201d Wang Dayou composed \u201cJu You (Thinking in the Jail)\u201d for Wen Tianxiang (1236\u20141282) who was then jailed by the ruling class. All those scores passed on to today.<\/p> [lll] Folk and Non-Folk Gugin<\/p> Since early Ming Dynasty when a quite complete set of special tablature for gugin\u2014 \u201cShenqi Mipu (Magic Scores)\u2019\u2014emerged, there have been lots of folk scriptures about gugin and scores of gugin were passed on to today. Many materials of those scriptures and scores were actually cleaned and preserved by folk gugin players at the end of Song Dynasty. Those scriptures are mainly thick inscription books normally of over 10 volumes. There are over 20 types of such scriptures solely in Ming Dynasty and more than 100 types from Qing Dynasty to the foundation of People\u2019s Republic of China. Complete or part of the materials involved in around 90 types of those scriptures can be classified as folklore ones, and we can have a clear picture of the existence of gugin from those materials.<\/p> Guqin was spreading not only among folk people. Ruling classes of different dynasties mixed it into band of official miaotan music (literally temple music) (they named it as \u201cYa Yue\u201d) and played it as ritual music when worshipping the god, the heaven and the earth. Most of the materials about gugin in ancient collections about histories, Confucius studies, etc., were within the range of ritual music, most of which were actually used to anaesthetize people and show off the ruling class\u2019 power to them. In miaotan music, gugins were mixed among many other instruments and were played very rigidly the tunes which were named as \u201cYa Yue\u201d. If we separated the scores of guqin from \u201cYa Yue\u201d tablature, they were even valueless in the sense of music. Taichan Shi (music bureau) of various dynasties and Hesheng Shu (music bureau as well) of Qing Dynasty (1636\u20141912) brought up a group of music officials like parasites. They scramble some music pieces such as \u201cYueWu Sheng\u201d (Dance and Music Piece), \u201cGuozi Sheng\u201d and \u201cLin Sheng\u201dand played some gins and sehs carelessly among the \u201cYa Yue\u201d bands when ceremonies were held. There were always some coincs of long music pieces in each dynasty in the name of so-called \u201cYa Yue,\u201d however, the gugin sections of those pieces, together with the complete sets of \u201cYa Yue\u201d, were dead when each dynasty ended.<\/p> Folklore gugin music, instead, was spreading very actively among people. It didn\u2019t die but develop very well. That there were over 100 types of gugin tablatures in inscriptions since Song Dynasty and Ming Dynasty (1368-1644) mentioned above is one of the proofs for its development. However, in the process of its development, there must have been different schools emerging due to different tastes and interests of gugin lovers. Since the end of Song Dynasty, gugin music in the range of folklore music was divided into two big schools\u2014Zhe School (emerging from current Zhejiang Province) and Jiang School (emerging from current south bank of the eastern section of Yangtze River). In Ming Dynasty, the division of those two schools was clearer with the Zhe School advocating only melodies and no lyrics at all for gugin music. The tablature of Zhe School often required very complicated fingering techniques and gugin players to produce sounds of \u201cdelicacy, excellence, sonority and smoothness\u201d, which were called \u201cXi Yin (Xi Sound).\u201d Jiang School followers, on the other hand, thought there could be lyrics for singing now that there was music. Their guqin scores, named as \u201cDui Yin (Dui Sound)\u201d, were simpler so to be easy for singing. Explained with current languages, Zhe School followers considered gugin only for solo performances, and Jiang School followers took it for accompaniment instrument.<\/p> It was a frequent rule in the feudalism society that something artistic in the folk, if reaching certain high level, would be sent into the court for the enjoyment of the upper class or kinds and emperors. This was no exception for gugin. Guqin music of Zhe School had been sent into the court long time before; while that of Jiang School was also enjoyed very much by nobles and officials.<\/p> Nobles of Ming Dynasty knew very well how to enjoy their lives. They didn\u2019t create any guqin music art themselves; or even they did, the levels were not high. But they often succeeded in finding those famous folk gugin musicians no matter schools and supported the musicians at their homes. Some few maharajas even supported some so-called \u201cgin apprentices\u201d, who learned from \u201cgin masters\u201d from the folk for the enjoyment of themselves. Sometimes, they collected stories about gugin and gugin scores popular among folk musicians for publications at their will. They usually despised lyrics of Jiang School to be \u201cvulgar\u201d and preferred music scores of Zhe School. No matter Zhe School or Jiang School, the folk gugin musicians knew how to pass on their achievements by having their own tablatures published as well. Many musicians of Zhe School in Ming and Qing dynasties carefully preserved their compositions and stories in the hope that some rich people would spend money in publishing their achievements after their death due to sympathy. However, there also happenings where some people stole others\u2019 achievements for publications in their own names under such background. In Ming Dynasty, many followers of Jiang School also tried to take opportunities to have their achievements published not only for passing on their fingering scores of the guqin music but also for publicizing lots of literary materials they used for singing. Gugin lyrics that Jiang School followers created were not only a kind of special poetry but also mature folklore literature. They were so mature that some nobles also collected them for publications and big names in poems also tried to copy them.<\/p> [IV] Yushan School and Folk Scriptures about Gugin<\/p> For over three hundred years since Wanli Reign (1573AD \u2014 1620AD) of Ming Dynasty, among the 70 odd tablatures especially for gugqin, all the writers, without any exception, referred their teachers or history of their gin education to Yushan School or Qinchuan School. Even the existent gin masters of around several hundred now in China also talked about the same origins. Yan Cheng (1547-1625) from Changshu of current Jiangsu Province published \u201cSongxianguan Jipu (Scores made in Songxian Hall).\u201d In Changshu, there is a river called Qinchuan and a mountain named \u201cYuShan\u201d. Therefore, if gin followers want to mean they play in the style of Yan Cheng, they will say they are of Yushan School or Qinchuan School (or Shu School, which means from Changshu.)<\/p> However, Yan Cheng was the son of Lai Ne, a Da Xue Shi (one kind of official title in ancient China and equal to the premier or state consultant of a country) of Jiajing Reign (1522\u20141566) in Ming Dynasty, and himself couldn\u2019t be called a gin worker (folk gin artist). Then, it 1s no strange that we might ask whether Yushan School actually didn\u2019t represent folk gugin musicians but rather musicians of the ruling class.<\/p> Our reply, based on materials, is that Yushan (or Qinchuan or Shu) school came from the folklore and is actually the successor of Zhe School.<\/p> Yan Cheng explained very clearly in the preface of his score collections \u201cZangchunwu Qinpu (Scores in Zangchunwu Dock)\u201d and \u201cQinchuan Huipu (Score Collection of Qinchuan)\u201d, \u201cIn recent times, some vulgar gugin players took some words from ancient literature as lyrics for music and said they were able to sing those words, and took some melodies from ancient pieces and said they could make match those melodies with lyrics. Is ancient music really like this?\u201d He stated himself as follower of Zhe School and confronted with Jiang School directly, having the same ideas as earlier Zhe School followers Xiao Ying and Hu Wenhuan. He also said in the preface of \u201cQinchuan Huipu (Score Collection of Qinchuan)\u201d, \u201cI name myself as Qinchuan. I am somewhat good at guqin, but focus on making beautiful sound not on the lyrics, which is something I try to differ myself greatly from those vulgar gin singers. I once traveled to the capital and met the gin master Shen Taishao, who is the number one in gugin music. He 1s similar with us from Qinchuan in melodies, etc., but much better than us in the elegance. I need to learn from his good points to make up for what we lack…\u201d Shen Taishao (also name as Yin, and came from Shanyin) was actually one of the famous Zhe School gugin players. Though \u4e25\u6f82started a new school of Yushan, he was actually inheriting from Shen Yin the essence of Zhe School. Therefore, we can say Yushan School is actually the future deviation successor of Zhe School.<\/p> Among Yan Cheng\u2019s teachers, not only the one in the capital was a folk player of Zhe School, but also the one in Qinchuan came from the folklore. (Yan learned playing gin with a dyer surnamed as Xu in Qinchuan. (Wang Yingkui said in his book \u201cLiunan Shuibi (Causerie in Liunan)\u201dthat Dyer Xu learned from the soul of Z1 You (one student of Confucius). This was actually a kind of legendary saying popular among the ruling class.)<\/p> his concrete example proved that Yushan School of Yan Cheng was an authentic product of the folklore cultures even though it was created by the ruling class and were much enjoyed by this class. This is only one of many such examples. If we analyze all of the scriptures about gugin, we can have the following summaries.<\/p> Only folklore musicians can compose inheritable gugin works and only they can teach guqin music in a systematic way.<\/p> Large amount of scholars and officials not only enjoyed gugin music but also learned from folklore players. They either collected inheritable ancient folk music scores and published them in their own names (such as Yan Cheng and Yun Zhigao); or spent money in publishing materials collected by folk players (such as Cai Yurong, Zhou Lufeng, Sun Quan); or wrote prefaces or epilogues for tablatures published by some professional gugin musicians; or revised materials composed by professional gugin musicians to let known their own names, such as \u201cQinpu Quanbi (Encyclopedia of Guqin Scores) of ???; or even changed some parts of the published tablatures of earlier musicians and added their names on or completely changed composers\u2019 names, such as Shen Guoyu and Ma Zhaochen. Most of the gugin score collections and scriptures were products of professional folk musicians, but many went through the compilation and revision of scholars or officials. In all, gugin music generated from the folk, but mainly published by the ruling class.<\/p> [V] Titles of Gugin Pieces and Their Connotations<\/p> There is one point worthy of notice that, in all fairy tales and stories in ancient Qin Dynasty and Han Dynasty about gugin, people never mentioned the titles of those pieces ancient musicians played. This showed that people of ancient Han Dynasty or before only stressed music images and presentations of contents by music languages of gugin pieces but not on their titles, or even there might not be titles at all for those pieces. When they needed to distinguish this piece from that piece, they normally took the first two words of the lyrics as piece titles. This was so not only with gugin pieces, but also with all other folk song collections in ancient Qin Dynasty, such as \u201cShi Jing (Collection of Odes)\u201d. As for those pieces without lyrics, people might use the keynotes as titles, for example (\u5bae\u5f15) \u3001(\u5bbe\u610f)\u3001(\u6d41\u5fb5) , etc. Titles could also come from one or two words summarizing main contents and stories of the music pieces, major roles of the stories, actions or names of the leading roles. Titles in such cases include \u201cYang Chun (The Summer), \u201cBai Xue (White Snow)\u201d, \u201cJianggui Cao (General Comes Back)\u201d, \u201cZou Ma Yin (On Riding Horses)\u201d, \u201cWenwang Cao (On King Wenwang)\u201d and \u201cChu Ming Guang\u201d<\/p> Such unclear and incomplete titles couldn\u2019t at all explain the contents of the music pieces. But in reality, titles of ancient gugin pieces of Han Dynasty existed like this and were passed on from generations to generations, and more or less affected the future generations to have the same habit. However, when it was necessary, there must have been some warm-hearted musicians who made certain explanations of contents of gugin pieces still in existence because they were worried that such music pieces would be left with no contents but some melodies and sounds or contents were distorted as time passed by.<\/p> At the end of Han Dynasty, one special book recording titles of gugin pieces as well as explaining those titles (as well as contents of the guqin pieces), \u201cQin Cao\u201d written by Cai Yong, emerged finally. Cai explained contents hinted by the titles one by one for the 47 guqin pieces popular at that time.<\/p> After Cai Yong\u2019s \u201cQin Cao\u201d, Wu Jing in Tang Dynasty wrote the book \u201cYuefu Guti Yaojie (Essentials on Titles of Ancient Yuefu Music Pieces)\u201d, or simply called \u201cYuefu Jieti\u201d, explaining titles of many ancient guqgin pieces since Han Dynasty. We inherited only some parts of this book, but \u201cYuefu Shiyu (Poem Collection of Yuefu)\u201d compiled by Guo Maogqian of Song Dynasty actually quoted many materials about gugin mentioned in Wu Jing\u2019s \u201cYuefu Tijie\u201d.<\/p> These three books\u2014\u201cQin Cao\u201d of Cai Yong, \u201cYuefu Tijie\u201d of Wu Jing and\u201d YuefuShiji\u201d of Guo Maogian\u2014extended great influence on future habit that there must be both titles and also explanations of tiles for each gugin piece in most gugin tablatures. Therefore, we also formed the excellent tradition to not only have clear titles of the gugin pieces but also make clear presentations of contents of the music. Any old guqin master plays a piece of music that nobody else ever listened before, he\/she will first tell without impatience what title this piece has and about what this gugin piece wants to display.<\/p> [IV] What Contents Do Guqin Pieces Want to Express?<\/p> Thanks for the 1800-year tradition that guqin pieces should have both titles and explanation of titles, and also thanks for scriptures and papers on guqin continuously accumulated in the past 1800 years, we can always find our answers so long we have the patience to look into those materials if we want to know the correct content of one guqin piece, no matter whether lyrics for this piece already die out or whether it is solely a solo instrumental piece; and no matter whether there are written or not tablatures on this piece or whether nobody knows how to play it any more.<\/p> According to materials existent, which are still not very complete, we can see that contents of gugin music pieces are mostly serious and proper. There are mainly four kinds of contents in the 47 music pieces of ancient Qin Dynasty recorded in Cai Yong\u2019s \u201cQin Cao\u201d: anger at and complaints of the ruling classes, longing for the open-minded and integral rulers of ancient times, depictions of social conflicts and sadness on some social problems. Two pieces of poems collected in \u201cShi Jing (Collection of Odes)\u201d\u2014\u2018Lu Ming He\u201d which \u201cShi Jing\u201d explained the cooperation of the ruling classes and ??? which \u201cShi Jing\u201d said to show kind policies of the ruling classes\u2014were explained in totally reversed ways in Cai Yong\u2019s work. He explained with confidence that those two pieces actually depicted people\u2019s anger at the ruling classes. Cai Yong lived in the era when peasants launched the large-sized revolution\u2014Huangjin (yellow headband) Revolution\u2014at the end of Han Dynasty. Therefore, it is understandable that many of music pieces he collected at that time were full of powerful and revolutionary emotions of people in the wave of protests to the ruling class. I mentioned above that gugin, as a kind of music art in China, is of folk people\u2019 and now when contents of gugin music are talked about, they are also of folklore nature.<\/p> It is noteworthy that those gugin pieces depicting social conflicts were full of such themes as to \u201cbeing good man\u201d and to \u201cdoing good things.\u201d Therefore, what they tried to express were very optimistic emotions rather than depressed or pessimistic ones. When we research on contents of some other gugin scores or those pieces with written tablatures that current musicians often play, we can find that some tried to depict love and friendship, same as current folk music, and some told certain historical stories. For example, \u201cYu Zao Longmen (Yu Chiseled Longman Grottoes??)\u201d depicts Yu stuck to working despite of unfriendly natural conditions for the benefits of the people, \u201cFeng Xue Yin (About Wind and Snow)\u201d encourages people to correct wrong doings and follow the good, \u201cYigiao Jinlu (Presenting the Shoe at Yi Bridge)\u201d tells the benefits of being humble, \u201cMozi Beisi (Sadness of Mozi)\u2019prevents people to be affected by unfriendly ideologies, and \u201cBianhe Qiyu (Bianhe Cries for the Jade)\u201d praises actions to follow the truth despite of danger of death. All those contents are useful still in current days.<\/p> October, 1954<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":" \u6f2b\u8ac7\u53e4\u7434 \u67e5\u961c\u897f \u4e00\u3001\u53e4\u7434\u7684\u5f62\u5f0f 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\u4e8c\u3001\u53e4\u7434\u662f\u4e00\u76f4\u6d41\u884c\u5728\u6c11\u9593\u7684 \u6839\u64da\u79e6\u6f22\u4ee5\u524d\u6b77\u53f2\u4e0a\u8a18\u8f09\u4e0b\u4f86\u7684\u8a69\u6b4c\u548c\u6587\u737b\u6240\u63d0\u5230\u7684\u548c\u51fa\u571f\u7684\u5668\u7269\u3001\u756b\u50cf\u6240\u5c0d\u8b49\u7684\u7434\uff0c\u5b83\u7684\u5f62\u5236\u5728\u6f22\u4ee3\u4ee5\u524d\u5f88\u4e82\uff0c\u7684\u78ba\u9084\u4e0d\u5b8c<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[8],"tags":[],"class_list":["post-6656","post","type-post","status-publish","format-standard","hentry","category-general"],"_links":{"self":[{"href":"https:\/\/chinesemusics.com\/zh\/wp-json\/wp\/v2\/posts\/6656","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/chinesemusics.com\/zh\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/chinesemusics.com\/zh\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/chinesemusics.com\/zh\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/chinesemusics.com\/zh\/wp-json\/wp\/v2\/comments?post=6656"}],"version-history":[{"count":10,"href":"https:\/\/chinesemusics.com\/zh\/wp-json\/wp\/v2\/posts\/6656\/revisions"}],"predecessor-version":[{"id":15014,"href":"https:\/\/chinesemusics.com\/zh\/wp-json\/wp\/v2\/posts\/6656\/revisions\/15014"}],"wp:attachment":[{"href":"https:\/\/chinesemusics.com\/zh\/wp-json\/wp\/v2\/media?parent=6656"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/chinesemusics.com\/zh\/wp-json\/wp\/v2\/categories?post=6656"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/chinesemusics.com\/zh\/wp-json\/wp\/v2\/tags?post=6656"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}