Guqin Music Collection (Volume 1)

Author: Institute of Musicology, Chinese Academy of Arts; Beijing Guqin Research Association
Publisher:
Publish Date: 2004-05-01
Features: This book compiles a total of 62 qin pieces played by 24 qin performers from all over the country. It includes both traditional pieces and newly rediscovered qin tunes. Some of them have identical titles but differ in version, style, or interpretation, and are compiled together for readers to compare and study. This is only a part of the achievements in the rediscovery and organization within the qin music community, and many qin pieces by other masters still await further collection and publication in the future. Although this book is a continuation of the Compendium of Guqin Tunes published in 1956, there have been some new developments in the organization methods, editorial conventions, accumulated materials, and understanding of the content. Therefore, the following explanations are provided:
1. According to general playing practices, we have standardized the tuning positions of the "Zhengtiao" (major-key tuning) method. This makes it easier to identify changes in tuning positions and reduces the use of accidentals.
2. The "zoushouyin" (hand-moving sounds) created by finger movement differ significantly in timbre from open tones (sansheng) and harmonics (fansheng). To accurately reflect these in the score, arrows and curved lines are used.
3. The division of sections within the pieces follows traditional qin score practices and may not perfectly align with the actual musical structure but serves as a reference.
4. Some fingerings marked as decorative notes have considerable flexibility in performance and do not produce striking effects. Therefore, additional symbols are generally not created for them.
5. Certain double notes with very wide intervals occasionally appear in the score and are not suitable for rewriting the grand staff. The symbol 8va… is used instead.
6. The order of the pieces is arranged as much as possible according to chronological order. However, determining the era of a piece is a complex issue, and the current arrangement is preliminary for researchers to reference.
7. The introductions to the qin pieces are primarily based on compiled materials and provide only clues for understanding. They do not include in-depth analysis or research but serve as a reference.