How was music recorded in ancient times?

China ancient genealogy has a long history and rich contents. As early as the pre-Qin classic "The Book of Rites", an ancient music score was recorded. This score records the playing symbols of "Animal Drum" and "Xue Drum" in the Zhou Dynasty. Then came the scores of twelve titles, including Huang Zhong, Lu Da, Tai Cong and Jia Zhong, which represented the pitch relationship in melody. In fact, this score has only a simple reference symbol relationship. During the Han, Wei, Jin, Southern and Northern Dynasties, there was also a kind of music spectrum, but only the works such as Henan Poems and Zhou Yao Songs were found in the Records of Han Literature and Art, but no music spectrum was found. Its music score was later found in Song Shuyuezhi, which is similar to today's Langdang Music (that is, phonograph music). ? The appearance of China Guqin score may be very early. The Complete Works of Taiyin is a new work by Zhu Quan in Ming Dynasty. It was originally compiled by Song Tian Zhiweng and collected all kinds of materials about Qin and fingering in Tang Dynasty. Among them, when talking about the source of Guqin music score, he said: the production of music began in Zhou. Therefore, Zhang Fu is different from his descendants. ( 1)

Zhou is a Warring States person, and there is no other document to prove his genealogy. Zhang Fu's spectrum has not been circulated in the world because it is "different spectrum".

Guqin music score is a kind of technical music score characterized by memory and playing techniques. As early as the mid-Western Han Dynasty, in Liu An's "Huai Nan Zi Xiu Wu Xun", there was such a description: "Playing the piano to caress the strings, participating in the emblem, grabbing help and caressing, if the hand is light, don't lose a string" (2); Cai Yong's "Fu Qin" wrote: "The left hand is restrained, the right hand is wandering, and the palm is stretched repeatedly, and it is suppressed and hidden" (3); Ji Kang's "Fu Qin" also has records such as "up and down tired, lingering" and "holding and touching, dazzling" (4). Among them, "grabbing auxiliary, caressing, restraining, swinging, pressing, up and down, tripping, squatting, caressing, shaking, shaking, shaking, shaking, shaking, shaking, shaking" was obviously a fingering term named by musicians at that time. It can be seen that a set of fingering system of left and right hands has been formed during this period.

During the Northern Wei Dynasty (AD 5 18-520), Chen Zhongru wrote a Qin Fingering. According to the literature, at that time, Guqin had a fixed shape, phoneme, piano tune and fingering, and a piano piece ran through its fingering, phoneme and piano tune with loanwords, thus forming a musical form.

During the Southern and Northern Dynasties, the piano music "Stone Tunes the Orchid" of Qiu Ming, which spread from 494 to 590 AD, was such a piano music written in words. The original score is a copy of the early Tang Dynasty, which was deposited in Xihemao Shen Guang Research Institute in Kyoto, and later copied by Yang Shoujing [1839-1914]. The book was published in 1884 by the Ancient Yi Series edited by Li Shuchang. This kind of music score is a kind of music score that indirectly reflects the pitch and sound length of music by describing the playing skills of left and right hands in words, hence the name. There is no specific pitch mark on the score. According to the recording technique, sound will only appear after playing. This is the earliest music score ever discovered.

In the early Tang dynasty, the past spectrum was continued. At that time, there was a pianist, Zhao Yili [563-639], who wrote two music scores, making them famous in ancient and modern times (5) and making more than 50 mistakes, refining customs and recording music scores (6). These more than 50 songs are probably all the arrangements he made in those years. Tang Zhi included one volume of Piano Gesture Spectrum and nine volumes of Xu Qinpu, and Song Zhi included another volume of Piano Right Hand Method. However, Zhao Yili's music collection still uses complex text music. We can see in "Xie Shi Tiao You Lan" that "its text is extremely complicated, moving through two lines and not making sentences" (7). ? The improvement from word spectrum to subtraction spectrum was completed by Cao Rou in the middle Tang Dynasty. As Zhou Zai of the dynasty said: "Simplified characters are simple and meaningful, and words are concise and meaningful. Cao Shi's works are so great! " For example, the original sentence "thumb presses five strings and seven emblems, right index finger picks five strings" can be simplified as "?" Such a symbol. Due to the invention of subtraction notation, Chen Kangshi and Chen Zhuo compiled a large number of piano scores in the late Tang Dynasty. The Book of the New Tang Dynasty contains four volumes of Qin Diao, thirteen volumes of Qin Pu and one volume of Li Sao Pu by Chen Kangshi. Chen Zhuo wrote ten volumes of "The Joy of Zheng Sheng's New Knowledge in Tang Dynasty" and nine volumes of "Ji Qin" (hereinafter referred to as "Song Zhi"), but both of them have been lost.

By the end of the Southern Song Dynasty, the subtraction spectrum was basically finalized. In the Song Dynasty, Jiang Kui compiled Song of Taoist White Stone, containing 17 songs, which belongs to the folk character spectrum. Among them, there is a piano song "Ancient Complaints" written by myself. From this score, it is very specific to point out the development of the subtraction spectrum of Guqin music to the end of the twelfth century, which has considerable academic value. In addition, there are five piano pieces in the Book of Shilin Guang Ji compiled by Chen in the Southern Song Dynasty, namely, Opening the Orioles and Gongdiao, Upregulation, Jiao Diao, Zheng Diao and Yu Diao. The form of subtraction is basically the same as that of Ming and Qing Dynasties.

The most commonly used and widely used traditional music and music types in the Ming and Qing Dynasties include the music score of Miyachi notation system (including the semi-character notation of Le Yan in the Tang and Song Dynasties, the mixed notation of Chinese characters and Miyachi notation since the Ming and Qing Dynasties), the notation of phonetic notation and symbols, and the twenty-four scores in Chaoshan area, etc., but the piano score printing was very popular in this period. First of all, Zhu Quan, the son of Zhu Yuanzhang, made Ning Xian king and published music scores such as The Secret Spectrum and The Complete Works of the Lunar Moon. After Ye Jiajing in the middle of Ming Dynasty, other governors and folks began to print their own piano music by subtraction notation. Among them, the most famous ones are the Supplement to the Taiyin in Xing Zhuang (edited by 1557), the piano score of Wenhuitang (edited by Hu 1596), the piano score of Songxiantang (edited by 164 1 Yan Cheng) and the Great Ring. Xu Changyu), Wuzhizhai piano score (edited by 1772), Ziyuantang piano score (edited by Wu Xuan in 1802), Jiaoan piano score (edited by Qin in 1868), and the number of piano music recorded in them are amazing and huge musical wealth!

To sum up, it can be seen that the traditional notation of guqin has gone through a history of more than 1000 years, from the problem of fingering the piano in the Han and Wei Dynasties, the figure spectrum in the Six Dynasties and the early Tang Dynasty, the restored spectrum from the middle Tang Dynasty to the early Song Dynasty, and the restored spectrum form in the Ming and Qing Dynasties. In the initial stage after piano music is recorded, pianists only use it for memorization, communication or demonstration, and may not realize that the piano has to be transmitted by recording. Moreover, because not many people play the piano, and the piano players under the same teacher are relatively concentrated in a certain area, they all use manuscripts when teaching each other. So there is only one paper book "Youlan" that has been circulated so far. During the Tang and Song Dynasties, Zhao Yili, Chen Kangshi, Chen Zhuo, Zhu Wenji, Yu Xu and Yang Zan in the Song Dynasty compiled a large number of music scores, but all of them have passed away so far, and some of the music scores are still preserved in the music collections of the Ming Dynasty, such as Magic Secret Score and West Road Hall Qintong.

Although the bottom reading method of Guqin has not been lost, there are many fingering symbols, systems and factions, and the forms and names are varied, and suspense is everywhere. Therefore, the ancient piano score, the Tang Pipa score, the Tang Five-string Pipa score, the Song folk character score and so on. It is classified as a difficult ancient spectrum by academic circles.

The main mission of playing guqin music is to show a long-lost piano music almost as it is. And translate its music scores into modern music scores for research, teaching, performance and creation. Of course, because piano music is usually recorded only by subtraction notation, it is not necessary to translate it into other music scores. Therefore, there has never been a so-called "translation of music" in the guqin world, but playing music, that is, "playing the piano according to the score." It was not until the late Qing Dynasty that a program was added to playing music and translated into I-scale music, which was compared with subtraction music. Since then, "playing music" has included the meaning of translating music. At the end of the Qing Dynasty, Fujian pianist Zhu wrote "Drumming with Music", which is contained in "Guzhai Music", which is a relatively complete monograph on playing methods. Zhang He's Introduction to Qin Xue said: "Playing the piano by the score is commonly known as playing music". The method of playing music is that the pianist chooses and verifies the version, analyzes the background of music, studies fingering and playing methods, recognizes the score, interprets the changes of pitch, technique, timbre, strength and local rhythm in live performance, and then tries to figure out the artistic conception of music. After thousands of performances, the cavity rhyme and sentence structure are determined.

As early as 19 14, Mr. Bai translated You Lan in this way. After 1950s and 1960s, Guan Pinghu, Cha Fuxi, Yao Bingyan, Wu Jinglue and other predecessors have successively created a large number of piano music, such as Jieshi Tiao You Lan, Guangling San, Jiukuang, Lisao, Wu Ye Tiao, Solitary Powder, Long Qing and Short Qing. Under the auspices of Mr. Cha Fuxi, he also compiled works such as Guqin Music Collection, Qinle Collection, Guqin Fingering Collection (mimeographed edition) and Biography of Qin People in Past Dynasties (mimeographed edition). Mr. Guan Pinghu also wrote and compiled the monograph "Study on the Fingering of Guqin" (mimeographed version), which provided a detailed and systematic way for the fingering of Guqin music. In the past twenty years, other musicians such as Gong Yi, Wu, Cheng Gongliang, and others have also played many piano works, such as Jia, Feng Ya, Chang, Cao and Dongting. , and conducted in-depth research and exploration on several piano pieces. ? Second, the method and process of playing guqin.

Playing music is a time-consuming and laborious project, so the Qin people have the saying that "Daqu lasts for three years and Xiaoqu lasts for three months". The process of playing music involves music history, archaeology, version, philology, temperament, history, literature, fingering translation and textual research of piano music, so there is a saying of "melody archaeology" in academic circles. Now, the playing method and process of piano music are detailed as follows:

Selection and study of 1, spectrum.

Because there are many music scores of Guqin music in Ming and Qing Dynasties, there are several to dozens of the same music scores, and different music scores have certain differences in style, fingering, academic value and arrangement level, so it is particularly important to choose a suitable music score. For example, The Magic Secret Music compiled by Zhu Quan in the early Ming Dynasty took a whole 12 years, which is the earliest collection of ancient piano music in existence and has high historical value. Sixteen pieces of Taikoo Shenpin, the first volume, can be proved that most of them are original written music scores left over from the Tang and Song Dynasties from the research and analysis of their reduced forms and the solution of each piece in the reference spectrum. There are many piano pieces in the middle volume and the second volume, which come from the "Cave Songs in Xia Zi" edited by Zhejiang pianist Yang Zan in the Song Dynasty, and many piano pieces in the music have been continuously processed by Yuan and Ming people. Therefore, it is of certain value to study the style of Zhepai Qinxue in Song and Yuan Dynasties and the development of Guqin in Yuan and Ming Dynasties. Another example is A Zhiming Wang's Piano Boy in Xilutang, which is a traditional music score with the largest collection of music, most of which are "extremely rare and far-reaching heritages" (8). For example, God is in harmony with man, Guangling San, Sword Immortal and Mingjun, and Fengyun Tour. Choosing these ancient songs to compose music is of great significance for studying the artistic law of Qin music creation since the Han, Wei and Six Dynasties, or as a basis for identifying the time of Qin music creation.

In addition to the same score, there are different versions and versions of the same score. For example, Jieshi Diaoyou Orchid contains the original Shen Guang Academy Book collected by Japanese Shen Guang Academy, and the Ancient Book included in 1884' s Ancient Book Series. As a copy of the former, the latter obviously has many mistakes and inaccuracies. Another example is the most widely circulated piano score "Wuzhizhai Piano Score" in the Qing Dynasty. The spectrum is carved repeatedly, so there are many versions. Among them, the original printed version of Qing Kangxuan is the best. Other versions, such as pirated books in the Qianlong period, are slightly worse in the Republic of China. As the version of "Qin Qu Integration" has been published, the version of "Qin Qu Collection" has been screened and appraised, which can be used as the basis for composers.

In addition, in the process of printing and circulation, there will inevitably be version errors, spectral errors, clerical errors and so on. And people who need to play music should refer to other music scores for collation and careful study. In the ancient genealogy, some of them were copied from others, with poor quality and little research value. These must be carefully screened by the composer.

2. Analysis of the content and background of piano music?

Different Qin Le, born in different cultural backgrounds and historical periods, shows different ideological connotations. Therefore, before performing music, composers need to read and study the relevant materials comprehensively, and need to analyze, understand and appreciate the composer's life experience, creative motivation and the humanistic background, spiritual connotation and temperament charm of the piano music itself. One of the important sources to provide the content and background of piano music is problem solving, postscript, title, lyrics and so on. Through the analysis of these data, the composer can have a preliminary and complete impression of the whole piano music. Because these written descriptions generally provide the time of production, the origin of music, artistic conception, musical image and so on. For example, the piano music "The Hermit" is included in the piano scores such as "The Handbook of Magic Secrets" and "Xi Lu Tang Qin Tong". According to the answer in the Magic Handbook, "noble piano music is the highest ancient music." "The Complete Biography of Qinyuan Heart" also said: "Lingqi is unusual and really ancient." As can be seen from the above problems, music shows the elegance of the ancients living in seclusion. Its musical style is lofty, calm and profound, and it is impossible to publicize festivals with countless voices. Therefore, the explanation and supplement of these words will help the composer to confirm the style, fingering, rhythm, speed, musical image and artistic conception of piano music and make appropriate treatment. Of course, the composers of these words should also take an objective attitude and pay attention to the identification of some untrue places. ?

Guqin, as a tool of self-cultivation and lyrical freehand brushwork of ancient China literati, has left a considerable number of qinshi, qinci, qinlun records, magazines and so on. In poetry collections, collections, official history, notes and piano books of past dynasties, this is another source of information for composers to investigate the cultural background and content of Qin music. Composers should seek confirmation from these historical materials in order to make a more comprehensive and profound analysis and understanding of music. ?

3. Music translation and fingering research.

As a serious academic activity, guqin performance is first and foremost a process of translating music. ?

Guqin music score is a kind of manual music score characterized by recording playing fingering. The analysis and research of fingering in performance has become an important link in the process of music translation. ?

The historical changes of Guqin notation have been elaborated in detail in this paper. In Qin music, there is only one song called "Jieshitiao Youlan", which is written in words. After Cao Rou transformed the character spectrum into a simplified spectrum in the middle Tang Dynasty, the simplified spectrum had been basically finalized by the end of the Northern Song Dynasty. Although the melody and tonality of Gu Fen, a piano piece created by Jiang Kui in Song Dynasty, are questionable, it was an important document to explain the notation at that time. ?

In the Ming and Qing Dynasties, the fingering symbols of guqin were gradually unified, and it was not too difficult to translate. However, from the fingering works of Guqin music, we can see that subtraction notation also has a process of continuous development and perfection. The existing works of this kind include: Chen Kangshi and Chen Zhuo in The Complete Works of Qin Shu; Liu Ji's Qin Art is found in Taikooli Legacy in Ming Dynasty. There is also "Wu Si Bar Fingerprint Paper" written by Japanese character Maoqing. These works explain the fingering symbols of Guqin music in detail. However, some of them are different from each other, and even the same symbol exists in a book, which has two interpretations. This imperfect subtraction spectrum was the most preserved in the first volume of the Magic Secret Spectrum in the early Ming Dynasty. However, ancient fingering like this is very valuable. It not only provides an example for the evolution of music score, but also helps us to find out the evolution law of the same track in different historical periods, so we should pay special attention when playing music score! Because most ancient piano music collections are photocopied according to woodcut or handwritten manuscripts, it is inevitable that there will be distortion, loss, inaccuracy and misunderstanding, so we should pay great attention to playing music. In case of difficulty in fingering, we should analyze it carefully to avoid misunderstanding. Moreover, fingering has different interpretations and playing methods in different times and schools. When playing music, it may be more appropriate to pursue original interpretation from the fingering of the same or similar era and genre. For example, regarding the style and music of Yushan Qinpai, please refer to Xu Shangying's Notes on Feng Wan Pavilion. If you choose to play music from the Music Score of Wuzhizhai, you can refer to the fingering notes and letter sources in the music. ?

4, rhythm, rhythm processing

There is generally no clear rhythm mark in the traditional guqin music score, which is a key problem encountered by composers. ?

In fact, "Guqin music developed to the end of Ming Dynasty, except fingering, there was a tendency to write clappers" (9). At the end of Ming Dynasty, Chen Zisheng, a pianist from Nanhai, began to use some symbols to record the lyrics and the rhythm of songs at that time. Another pianist, Yin Ertao, had a piano name during the Wanli period of the Ming Dynasty. By the time he died, he was the inner Han of Emperor Chongzhen Zhu Youjian. In his piano piece The Secret Message of Yan Hui, "In addition to reading sentences, melon seeds are added to some phrases, which is another development trend of recording clappers in music scores" (10). But in the Qing Dynasty, Guqin was very conservative in composing and recording music. Even Sun Quan, a student of Yitiaotao, cut off some "black melon seeds" when he ordered songs for him 30 years later! ?

By the end of the Qing Dynasty, in the first year of Daoguang (182 1), Wang Zhongshu, a violinist from Huiji, Zhejiang Province, had compiled The True Solution of Fingering, which included eleven capital beats for piano music, as well as examples of scales of two works, Ping Sha Yan and Xiaoxiang Shuiyun. In this regard, Mr. Cha Fuxi once commented on his "direct reading method", saying that "it is a special form of piano music and advocates a simple reading method, which opened the precedent of Shi Yang's 100-level string singing method in the late Qing Dynasty and the early Republic of China" (1 1). In the twenty-five years of Daoguang (1845), an old man in his prime wrote a manuscript of "The Musical Score of Hailing", which is Zhang Jutian's musical score. The author emphasizes that he took photos according to "time music" to promote the scale of work and seek "guidelines" for Guqin. Some songs originated from Kunqu opera, and all of them were marked with the ruler's beat in the form of Kunqu opera scores. All traditional music is marked with the ruler's beat, but most of them are not marked with the beat. After him, Zhu You, Zhang He, Yang Zongji, etc. , also have adopted the palace pool spectrum attack. However, until a hundred years later, there are still many musicians who have a strong aversion to this. ?

Because there was no piano music in ancient times, we are going to play music today. However, the playing movements recorded in the piano score often form regular time intervals in actual progress, which produces certain rhythm logic and embodies some inevitable rhythm. In fact, this is equivalent to indirectly storing the rhythm information of the original song locally. However, the rhythm information indirectly stored in the piano score is partial after all, and there are still many places that need to be pondered by the composer himself. In this respect, composers can determine the framework of rhythm and beat for piano music through repeated playing, experience and analysis according to their accumulated examples of rhythm and beat in traditional music and rich musical vocabulary. Similar teachers, styles or consistent understanding of music, the rhythm and rhythm of piano music are often similar. On the other hand, due to the intervention of subjective factors such as personality, temperament, style and accomplishment of different composers, the same music score can produce many different styles. ?

For example, the piano piece Drunk, Mr. Yao Bingyan played triple-beat music. But is this appropriate? Was the concert in that era like this? Many people have questions. Mr. Xiang Peng Huang thinks that "the triple beat here is not the triple beat of the European Waltz, but the second beat can still be strengthened with the inverted beat to express the feelings after drinking" (12). Mr. Gong Yi treated "drunkenness" as a loose board. For another example, in the 1960s, the ancient Yi version of "Jieshi Diao You Lan", composed by the older generation of musicians Guan Pinghu, Xu and Wu Zhenping, had different rhythm processing and performance styles. ?

5. Playing and music.

After a considerable understanding of the musical styles, characteristics and inheritance of different Qin Le, the interpretation of ancient music scores is still a purely technical issue. That is, all the music information stored in the ancient spectrum is released. But the ultimate goal of playing music is to restore the original appearance of ancient music and convey the rich and profound spiritual connotation in Qin Le's works, which is not just a technical problem!

Guqin music has accumulated rich humanistic and historical connotations in the course of thousands of years. Therefore, after completing the above stages, composers must practice playing for a long time, understand the meaning of music, feel the artistic conception of music, constantly correct the rhythm and beat, and finally complete the shaping of music image. As "With Guzhai Qinpu" said in the final accounts of Dapu:? ..... according to the drum, according to the eternal song, because of it, you can get its cadence and breathing nature. Without exception, songs are familiar and interesting. I am proficient in mysteries, and I want to be appropriate. The bandits lost their hands and forgot each other's fingers. Sound and emblem blend together, ethereal and ethereal, worthy of being a fairy!

Finally, the composer recorded the finalized music works into relatively complete music works. ?

Third, the academic significance of Guqin playing music

Guqin music retains many ancient sounds. Playing Qin Le will not only show people dazzling and colorful ancient Qin Le works, but also provide a vivid example for inheriting and developing traditional music. It is of great significance to further study the history of China ancient music and the emergence, change and development of ancient tonality, mode, scale and legal system. ?

As early as the Tang Dynasty, there was a saying that "only the pianist is still transmitting the old Chu-Han sound (14)". Mr. Xiang Peng Huang once pointed out: "The position of Guqin music in the history of European music is similar to that of piano literature in the history of China music. Because in history, it actually absorbed and preserved some essences of Shangqing music in Han and Wei Dynasties, folk music Daqu in Southern and Northern Dynasties, and poetry music since Tang and Song Dynasties. " (15) In recent decades, many topics in the study of music history have been confirmed, revised or supplemented by the scores of many piano pieces, such as Guangling San, Li Sao, Da Huan and Gu Fen. ?

For example, the chorus in Han Dynasty is a musical form worthy of attention in the history of ancient music in China. However, since the Sui and Tang Dynasties, these "old songs of China and South China" (16), regarded as "official voices of South", have been lost in history. However, some of their tunes continue to circulate in piano music. In the second year of Tang Xianqing (AD 657), Snow White written by Taichang Cheng Lvcai in Yuefu (17) is an example of this situation. ? Although the existing piano music Guangling San in Magic Secret Music has been processed by later generations, it has a certain distance from the original music of Han and Wei Dynasties. But after careful analysis, we can find that it still retains some characteristics of Guangling San in Han Dynasty. For example, Guangling San is divided into three parts, which basically conforms to the structural characteristics of Xianghe Daqu in the Han Dynasty, namely, "Prolonging-Chaos (Harmony, Trend)". For example, Little Tiger Jia in The Magic Secret Spectrum is divided into "pre-narration-pronunciation-post-narration", which are also consistent with the musical structure of Xianghe Daqu. ?

For another example, the western song "Crying at Night" in the Southern and Northern Dynasties has long been lost. However, judging from the existing piano music "Wu Ye Tune" (composed by Yao Bingyan), it seems that there are still some features of western music. Another example is "Jieshi Tiao You Lan", which is also a musical relic with great historical value. Not only is its musical form the only example to preserve the fingering of characters and the position of chords, but its musical form basically maintains the genre of "four explanations" of Daqu and "four chapters" of dance music in the Han and Wei Dynasties. Its unique tunes and sounds are obviously different from traditional Han music, and it is likely to maintain the musical style of all ethnic groups in ancient northwest China. ?

Judging from the scale form of playing music, many scales other than pentatonic scale were used in ancient music. For example, in Guangling San, besides the core pentatonic, seven-tone partials such as tone sandhi, Gong sandhi, Yu-qing and Jiao-qing, and decorative tone sandhi such as b3 and b2 are also used. Its scale form belongs to the same traditional ancient scale as Ceng Houyi Zhong in the pre-Qin period. Among them, the use of six-tone feathering mode with palace change has a unique color effect. ?

Another example is the overtone tone of "The Man of God is Long", which uses #4 and # 7 of the ancient scale (elegant scale). The same is true of Daya. "Antique Practice" uses a new scale (Le Qing scale) that is pure four degrees and big seven degrees. The ancient complaint used the Shang Qing scale (Le Yan scale), which included a pure level 4 and a small level 7 b7. The alternate use of #F and flat F in Da Hu Jia makes the music unique, and so on. ?

The tuning of guqin is basically based on two legal systems-pure law and three-point profit and loss method. According to Mr. Chen (18), the historical stage of guqin tuning should be divided into two stages: pure law and three-point profit and loss method, based on the Qintong of Xilutang in AD 1549. Judging from the existing music scores, the lyre music before and after the Ming Dynasty basically adopted pure rhythm, so there are many examples in this respect, but they are not fully understood. Mr. Xiang Peng Huang, on the other hand, thinks that "the pre-Qin bell rhythm was lost after Qin Dynasty, but its practice was preserved in the art of lyre after Han Dynasty. Qin law is a non-average law system. On the issue of legal system, it combines the three-point profit and loss method and the pure method three-tone system, and the pure method is the main one. It is a compound legal system that uses two biological methods flexibly "(19). These different academic viewpoints need to be confirmed and studied by further grading. For composers, when composing music, we should pay attention to which era the music belongs to and analyze the legal system used. In a word, it is of great academic value to study China's traditional music culture. Moreover, Guqin, as a treasure house of China music, will also provide valuable information for anthropologists to explore the relationship between people and music. Even modern avant-garde composers began to seek inspiration and explore materials from guqin music to enrich the content of new music! ?

Fourth, knot? language

After the above discussion on the method, process and significance of Guqin playing music, the author puts forward the following views:

1, the change of pitch and fingering of the original score when playing music.

Influenced by the concept of pentatonic scale since Ming and Qing Dynasties, many musicians are used to changing the original score when playing music, that is, changing the original tone sandhi into the pitch of pentatonic scale. Some people think that it is the "inaccuracy" of ancient notation or the "mistakes" of scribes, while others think that these inflections and deviations "sound unaccustomed". In fact, this not only distorts the original music, but also is not conducive to the study of music history and musicology, and will affect people's correct understanding of ancient music. ?

For example, the #F in Hu Da Jia, Elegance and other ancient music is changed to G, and this #F is the characteristic sound of the traditional ancient scale in China. For example, in Drunk, the three-stringed ten-emblem four is played into three-eighths of the ten-emblem, three-eighths of the seven-stringed, and four-eighths of the nine-emblem to eight-emblem, and four are also omitted. The same change also occurs in the high notes. In addition, the characteristic pitch of some piano music, which indicates the use of pure law in ancient times, has also been changed to the pitch of the three-point profit-loss law. This practice of changing music scores is also common in the music works of some musicians such as Guangling San, Youlan and Gufen. In my opinion, playing music must first be faithful to the original music. Even if it proves to be a spectral error or a clerical error of the original score, or the composer thinks that some pitches are not suitable for modern people's appreciation habits and need to be changed, the minus sign and pitch of the original score should be indicated in the music, and the reasons for the change should be explained. For some music that has been changed, I think it can be played again, or corrected and supplemented. ?

2. Re-creation in music performance.

The significance of playing piano music is mainly for people to play, appreciate and learn. According to the past practice, the so-called "playing music" means playing piano music that is no longer played in ancient piano music on the piano with today's musicians' own experience and understanding, which is obviously due to the musician's own re-creation. Many musicians also believe that "composing music" has certain rules and regulations, and emphasize that this is in line with the unique aesthetic principle of China's music in its inheritance and evolution, that is, it is impossible to be the same, but it is not changed. It is advocating a variety of songs and opposing thousands of songs. It should be said that, as far as the actual situation of China music is concerned, such views and practices are pertinent and feasible. However, from the perspective of interpreting ancient music and correctly restoring its original appearance, playing ancient music is the first step, and composers should try to avoid changing the score according to their own will. This is the first step! Of course, in the aspects of rhythm and rhythm, the shaping of musical image, the transmission of musical artistic conception, etc., there is a certain personal re-creation space for pianists. However, when playing music, some musicians not only draw their own rhythms, but also deliberately change the information of the original music in terms of composition techniques, pitch and tonality, although this is understandable from the perspective of performance and innovation. But after all, this is very different from the academic score for the purpose of restoring ancient music. In this regard, some scholars, such as How Changlin and Chen, have suggested that this innovative music creation be called "arrangement" (20). The author thinks that it is necessary for piano circles to redefine the concepts, methods and purposes of academic music performance, innovative music performance and ensemble music performance in order to unify their understanding.