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Guqin Analysis 分析
Li Yuanqing; Zha Fuxi; Pu Xuezhai; Yang Yinliu; Guan Pinghu 1
Traditional analysis can be philosophical or cosmological as well as musical.
2 As for musical analysis, this requires musical examples and historical data, and for collection, preservation and descriptions of this we are most greatly indebted to the guqin work of 1956 led by Zha Fuxi. Regarding the photo at right, Zha Fuxi, Pu Xuezhai and Guan Pinghu were all qin players. Li Yuanqing was then Director of the Music Research Institute, while Yang Yinliu was probably the most important historian of Chinese music in general.

Articles in this section include

  1. Dapu: Bringing Old Music to Life
    - see also Bell Yung on Dapu
  2. Historically Informed Qin Performance
  3. Qin Tunings, Some Theoretical Concepts
    - for practical details see Tuning a Qin
  4. Just Intonation Tuning?
  5. Modality in Early Ming Qin Tablature
    - compare Modality in Jieshi Diao You Lan
  6. Rhythm in Early Ming Qin Tablature
  7. Guqin improvisation
  8. Rivers in Spring and Autumn (concerns music structures)
  9. Use of ornamentation in guqin play
    - Mostly concerns arguments about changes in the relative importance of the left and right hands

Footnotes (Shorthand references are explained on a separate page)

1. Li Yuanqing, Zha Fuxi, Pu Xuezhai, Yang Yinliu and Guan Pinghu (中文)
This photo, dated 1954, was copied from Zha Fuxi: Qinxue Wencui.

楊蔭瀏 Yang Yinliu (1899–1984; Wiki) was a noted music historian. His name was listed in a 1930s Anglican Church Chinese hymnal as "Ernest Yang". Thanks to Woo Shingkwan for sending me a pdf copy of the relevant pages, as well as the following reference to an article that Yang wrote about the qin:

楊蔭瀏 Ernest Y.L. Yang. 2009. 《琴譜》 The chin music. 
"In Chinese and English, with transcriptions of qin music as played by 王燕卿 Wang Yanqing" (1867-1921; Meian School)

李元慶 Li Yuanqing was apparently an administrator.

2. Differing types of analysis
Attitudes towards the qin can vary depending on the background. This is discussed in detail in an extended essay (in Chinese) 劉承華 Liu Chenghua called 文人琴與藝人琴關係的歷史考察 (An historical examincation of the relationship between scholars' qin and artists' qin). !-- -->


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