Sichuan Conservatory of Music Associate Professor, Ziyu Zither Pavilion Owner

Dai Ru, Ziyu Zither; Associate Professor of the Sichuan Conservatory of Music, was awarded the Second Prize of the National Invitation Competition of Folk Music for the Yangqin in the youth group in 1993; Bronze Prize for the Guqin in the Youth Group of the First National Instrumental Solo Competition of the Chinese Youth Arts Competition sponsored by the Ministry of Culture in 2002; Bronze Prize in the Youth Group of the National Competition of the Guqin in 2004

Guanshan Yue

Wang Binlu

The zither piece "Guanshan Yue" is unique to the Zhucheng school of zither in this century. Although the piece is short, the sound is robust and smooth, with a strong flavor of northern music.

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Dahu Jia

According to the "Miraculous Mystery Score", Chen Changlin played the sheet music

Famous zither players of the Tang Dynasty, such as Dong Tinglan and Xue Yijian, were good at playing this song. At that time, it was called "Hu Jia Two Books" together with "Little Hu Jia". In the early Tang Dynasty, Zhu Jiasheng and Shen Jiasheng, who were popular in the qin world, were famous for these two pieces. Dong Tinglan inherited the traditions of the two families and organized the transmission of the score. The piece is now in the "Miraculous Secret Score", **** eighteen paragraphs.

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2 Gong Yi

China's renowned guqin virtuoso, professor at the Shanghai Conservatory of Music, and vice-president of the Chinese Zither Society

Along with the erhu virtuoso Min Huifen, the flute player Yu Xunfa are known as the three great masters of folk music performance, and the first-class performer of Shanghai National Orchestra. Gong Yi began to study guqin at the age of 13, and at the age of 15, he played guqin on stage, and was praised by the famous guqin master Cha Fuxi, and was known as the "Little Guqinist". Unlike many qin masters, Gong Yi has studied under 12 qin masters from 5 schools, including Zhang Ziqian, Gu Meijuan, Zhang Zhengyin, Liu Jingshao, Xia Yifeng, Liu Shaochun, Zhao Yunqing, etc. Gong Yi has studied the representative repertoire of many schools as well as the performance styles of each school, and he has conducted in-depth study and research on the traditions of the art of the guqin.

Remembering the Deceased

Peng Zhiqing's Score

Remembering the Deceased: a guqin piece also known as Thinking of the Deceased in the Mountains and Remembering the Deceased in the Empty Mountains. It is also known as "Thinking of the Old Man in the Mountain" and "Remembering the Old Man in the Empty Mountain". The score is contained in the "Jin Yu qin zhuan" (1937), which was passed down from Peng Qingshou. It is said to have been composed by Cai Yong of the Eastern Han Dynasty. The melody is euphemistic and lingering, with the intention of reminiscing about the deceased. The six sections of the piece begin with overtones, which are fresh and elegant, giving rise to the feeling of longing for the deceased in the tranquility of the empty mountains and valleys. The latter sections of the slow and steady rhythm, the incessant sound of the zither expresses the deep feelings of missing the deceased, touching and deep.

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Dashing Xiang Shui Yun

Weizhong Le Le Chuanzhu

"Dashing Xiang Shui Yun" is based on the "Wuchi Zhai Zither Recordings", performed by Wu Jingliu. It was written by Guo Shin of the Southern Song Dynasty. At the end of the Song Dynasty, the Yuan army invaded Zhejiang, and Guo Shin moved to Hengshan, Hunan Province. When he was boating in the place where the two waters of Xia and Xiang merged, he looked at the Jiuyi Mountain from afar, which was covered by the clouds of Xiaoxiang, and it aroused his dissatisfaction with the corruption of the court of the Southern Song Dynasty, and his sadness about his own life, and so he composed this song to express his resentful feelings.

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Spring Breeze

Spring Breeze

ZHAO JIAZHEN, GONGYI ENSEMBLE

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Spring Breeze

This is the first time that I've seen this piece of music. shupaiguqin/Wenjunqin Society/Gong Yi_Zhao Jiazhen_Ensemble.rmvb

3 Xie Guoxiu

Member of the Chinese Musicians' Association and President of the Guangdong Guqin Research Society

Xie Guoxiu is the eighth generation of the Lingnan School.

Wu Nian Cai

By Yang Xinlun

Wu Nian Cai was originally a western song with songs and dances (The Collection of Lefu Poetry, cited in Ancient and Modern Music and Greenery). Its tune is said to be quite mournful and touching; its accompaniment form, singing and dancing are very different from those of the Wu Songs "Ziyou" and "Qianxi". Yu Xin of the Northern Zhou Dynasty and Li Qunyu of the Tang Dynasty wrote a poem called "Wu Night Cry", which reads, "It is not "Ziyou", and the singing and dancing are different from "Qianxi"", and "It is like hearing the cry of separation of a living being, and the sound of it is painful to the human heart", etc. This can be proved by the poem.

The western song "Wu Night Cries" has long been dispersed. The earliest surviving zither song "night cries" in the early Ming Dynasty Zhu Quan "magical secret score". The first time I saw this, I was in the middle of a long journey, and I was in the middle of a long journey. However, judging from the following points, it seems to retain some of the characteristics of the Western piece: (1) It makes extensive use of superimposed phrases. (2) The scale form also takes the core five tones as the backbone, and also uses partials such as qingjiao, which belongs to the seven-tone structure, and variations such as do. (3) Like the Eighteen Beats Before Hu and other compositions, it is often decorated with colorful variations of the same phrase

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Longshuo zheng (Dragon Shoe Exercise)

This piece was first published in the Chengjiantang zither score ( 1686), which was then based on a version of the "Ceng Jian Tang Zither Records" (1686). 1686), which was then named after Zhaojun's Complaint. However, it is a different tune from Zhaojun's Complaint (also known as "Longshuo Exercise") in the Miraculous Secret Records. At present, zither players call this tune popularized by the Guangling School "Longshuo Exercise" according to custom. The piece may express the emotion of Zhaojun's sadness and longing for Han, or it may express the fun of the dragon's flying and dancing through the clouds and into the fog.

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渔樵问答

据《古冈遗谱》杨新仑传谱

渔樵问答：古琴曲，曲谱最早见于《杏庄太音续谱》（明萧鸾撰在 1560): "The rise and fall of the past and present is as easy as turning the palm of one's hand, while the green hills and green waters remain intact. A thousand years of gains and losses, right and wrong, are paid to the fisherman and woodcutter in a single sentence". This song reflects the yearning of a recluse for the life of a fisherman and a woodcutter, hoping to get rid of the constraints of the mundane world. The music is vivid and precise.

Fishermen and Woodcutter's Questions and Answers is a famous piece of music that has been passed down for hundreds of years, and now there are many kinds of scores. The "Beginner's Guide to the Study of the Zither" says, "The meaning of the song is deep and long, and the spirit is free, while the loftiness of the mountains, the ocean of the water, the ding-ding of the axe, and the ugh-nai of the sculling sound are all hidden under the fingers." Because of the accuracy and vividness of the musical image, it has been widely circulated among zither players in recent centuries.

The music begins with a leisurely tune, showing an ethereal and spontaneous style, and the echoes of the upper and lower phrases create the mood of a fisherman and a woodcutter answering each other. The theme of the tone changes and develops, and constantly adding new tones, coupled with the use of the roll whisk technique, to the seventh paragraph to form a climax. It portrays the hermit's unrestrained, dashing and self-indulgent mood. The strong sound caused by the use of the splash and triple-play techniques, in response to the syncopated rhythms, gives the impression of towering mountains and the woodcutter's thumping axe. The thematic tones presented at the end of the first section are shifted and varied and repeated throughout the piece, leaving a deep impression on the audience.

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4 Zhao Jiazhen

Professor of Guqin at the Central Conservatory of Music

Ms. Zhao Jiazhen is one of the most renowned contemporary Chinese guqin performers, and a teacher of the guqin program at the Central Conservatory of Music. She mainly studied under Mr. Wu Jingliu (deceased), the famous master of guqin performance in China, and has been carefully instructed by Mr. Zhang Ziqian (deceased), Mr. Gong Yi, and Mr. Wu Wenguang for a long time. Her playing is strong and soft in succession, and is extremely colorful. Her interpretation of the music is new but in accordance with the law, and has the natural interest of the Wu School. Zhao Jiazhen's guqin art is highly prestigious in the Chinese traditional music world, and she has been invited to participate in many influential international exchanges, and has been recognized as a "world-class virtuoso" by the prestigious New York Times. In addition, she has recorded guqin music for many movie and television programs, including Dream of the Red Chamber and Romance of the Three Kingdoms.

Guangling San

Guan Pinghu played the music according to the "Magical Secret Score"

The title of the piece first appeared in the Han Dynasty's "Song of Xianghe". The sheet music was first found in the Ming Dynasty's Miraculous Secret Score, and is in the key of the slow merchant. "Guangling" is the area of Yangzhou in present-day Jiangsu Province, and "散" means "to manipulate, to lead, and to sing. According to the "miraculous secret recipe" contained in the upper volume of the "ancient gymnastics" for the "secret of the past", the volume contains "Guangling San" song, and note that this song "the world there are two recipes, this time to take, sui palace in the collection of recipes, sui died into the tang, tang died in the private sector has been years, to the Song dynasty high emperor jianyan, into the imperial palace, after nine hundred and thirty-seven years have gone, the "miraculous secret" is a slow commercial tune. After nine hundred and thirty-seven years carry on, to be this spectrum is, so take it." Because its title is taken from "Nie Zheng stabbed the King of Han Qu", so it was attacked and criticized by the feudal defenders of successive generations. Chen Clumsy of the Tang Dynasty once took the sheet music to Sun Yu for advice, and was surprised that Sun Yu burned the sheet music, saying, "I do not want to pass it on, in order to injure the national body" ("History of the Qin"). Zhu Xi of the Song Dynasty also said: "the piano family most take "Guangling San" manipulation, to a certain point of view, the sound of the most unpeaceful, there is the meaning of ministers over the king" ("the book of the piano book" cited "Ziyang zither book"). Song Lian of the early Ming Dynasty also said, "Its voice is angry and impatient, and it is not to be taken as a lesson, but rather as a law?" The forty-five sections of the piece are divided into six parts: the opening of the fingers, the small preface, the big preface, the positive sound, the chaotic sound, and the post-preface, and there are the "stopping", the "well", and the "Shencheng", "Shunshi", "Inshi", "Ganshi", "Taking Han", "Calling Yu", "Calling Yui", "Calling Yui", "Calling Yui". "Calling out the ghost", "Dying body", "Making gas", "Containing the will", "Contemplation ", "return to the soul", "favoritism", "punch the crown", "long rainbow", "Cold Wind", "Fury", "Martyr's Wife", "Receive Righteousness", " "to make a name for himself," "to contain the light," "to sink the name," "to throw the sword," "to make a steep trail ", "Keeping the Will", "Returning to Government", "Vow of Completion", "Final Thoughts", "comrades", "use of affairs", "resignation from home", "gas rush", " "slightest action", "intentionality", "sadness", "sigh", "long pause", "sadness", "sadness", "sadness", "sadness", "sadness", "sadness", "sadness", "sadness", "sadness", "sadness". ", "sadness", "hate and anger", "death plan", "will stop the intention of " and many other sub-titles. There are two main tones running through the whole piece: the main tone of the positive sound is mostly at the beginning of the section, and it changes every time it appears; the main tone of the chaotic sound is mostly at the end of the section, and it basically reproduces in the same form. Due to the use of these two main tones, the grand scale of the piano in the waves of change, to maintain the unity of the front and back. The performance is characterized by "more sound and less rhyme", with more overtone and loose tone, showing the main features of the melody of the early ancient zither music. Its structure is complex and rigorous, the tune is euphemistic and impassioned, and the playing techniques are complicated and varied, which fully demonstrates the brilliant achievements of China's ancient musical works. It is a rare masterpiece of ancient music works in history, known as the "song of the master", music impregnated with the spirit of rebellion and the eulogy of noble sentiments, as well as it is "a drum resting on ten thousand movements, and then get the ghosts and gods" of the high degree of artistic contagiousness, has been passed down from generation to generation. Legend has it that Jikang said this before his execution: "Yuan Xiaoni tasted from me to learn "Guangling San", I every Jin solid, "Guangling San" in today's extinct!" (See "Jin Shu - Jikang biography") After the founding of the country, by the hands of Mr. Pipe Pinghu and resurrected it in the music world, showing the music in the history of the strong vitality. Its musical form, for us to understand the ancient form of musical structure and its evolution, provides a valuable example.

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Longxiang Exercise

Originally found in the Chengjantang Zither Score (1686), when it was titled Zhaogun Complaint. However, it is a different tune from Zhaojun's Complaint (also known as Longshuo Exercise) in the Miraculous Secret Records. At present, zither players call this tune popularized by the Guangling School "Longshuo Exercise" according to custom. The piece may express the emotion of Zhaojun's sadness and longing for Han, or it may express the fun of the dragon's flying and dancing through the clouds and into the fog.

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5 Wang Duoduo

Famous guqin master and director of Wu Sheng Institute of Qin Studies

Founded the Wu Sheng Institute of Qin Studies in 2002, and editor-in-chief of the guqin scholarly publication "Qin Dao".

White Snow

According to the Xilutang Qintong, the score

The ancient song "White Snow" is said to have been composed by Shi Kuang during the Spring and Autumn Period, about 2,500 years ago. According to Chalao research statistics[1] containing "White Snow" of the surviving qin sheet music **** 31 kinds, the earliest in the "magical secret sheet music". The author used seven kinds of zither sheet music, namely, The Miraculous Secret Record (1425), Xilutang Qintong (1549), Xingzhuang Taiyin Supplement (1557), The Complete Book of the Zither (1590), The Secret Purpose of the Emblematic Words (1647), The Qin Record of the Great Pavilion of Restoration (1673) (note), and The Qin Record of the Hall of Ziyuantang (1802). After a comparative analysis of Baixue in these seven zither scores, the differences and evolutionary characteristics of Baixue in the two zither scores of Xilutang and Dareuge are explored with an emphasis on playing the scores.

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Autumn Plugging Min

Mr. Jingliu Wu's score

Autumn Plugging Min is a piece of qin music that has a number of very different titles and different interpretations. Mr. Wu begins by examining the content of the piece. From the title and the musical image of the piece as well as the fingering characteristics, he determined that the content of the piece is to express the sadness of Zhaojun's departure from her hometown and traveling far away from home. Thus, in the performance, the style of elegance is expressed everywhere. In particular, the sliding tone is used in many places, and some important notes are used in the big chant (i.e., a large amount of vibrato), and there is a continuous big chant of four notes downward, which is full of the feeling of sadness. The slow downward glissando, emphasized in the performance, is even more poignant.

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6 Cheng Gongliang

Famous guqin player and professor of the Department of Music of the Nanjing Academy of Fine Arts

Cheng Gongliang studied with the masters of the Mei'an School, Liu Jing, and the master of the Guangling School, Zhang Ziqian. His performances are mainly based on the tradition of the Guangling School to form his own style, with a deep and delicate human flavor. He expresses the feeling of nature and the thinking of life, which is either gentle and soft, or fiery and deep. His performance, which is y cultivated and directly from the heart, is considered to be "the ultimate in inner emotion.

Wenwang Cadenza

According to the Wugang Zither Score

Wenwang Cadenza is solemn and full of benevolence, expressing admiration for the ancient sages. In the Ming Dynasty, the "Hengzhuang Taiyin Supplement" praised King Wen's lofty and holy thought that "the Way of Heaven is unceasing" could purify people's hearts: "Drumming this song will make people cleanse the evil filth and dissolve the dregs."

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7 Qiaoshan

Canadian Guqin Artist

Ms. Qiaoshan studied under Ms. Wang Di, the disciple of the Jiuyi School of Guqin master, who was the direct disciple of Guan Pinghu, and her qin song combines the art of chanting with the clear, subtle, light, and far-reaching art of Guqin. The perfect combination of the artistic realm of clearness, subtlety, lightness, and remoteness of the guqin expresses a unique stylistic charm. Ms. Qiao Shan's singing voice is so clear and ethereal, and Ms. Qiao Shan is so elegant and beautiful.

Hairpin Phoenix

Lu You words by Wang Di

Played by Qiao Shan Xiao accompanied by Li Xiangting

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Warning of the Plum in Two Songs

Melody by Guan Nai Zhong

Mao Zedong's lyrics and Guan Naizhong's music are from the third movement of the symphonic poem "Spring and Autumn on the Qin" for guqin and national orchestra

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Eighteen Beats of Hu Jia

Wang Di's score

"Eighteen Beats of Hu Jia" was originally a piece of music written by the Chinese poet Li Xiangting, who is also the author of "The Hairpin Phoenix", which is a piece of Chinese poetry. Hu Jia Eighteen Beats" was originally a zither song, which is rumored to have been composed by Cai Wen Ji. It is a vocal suite of 18 songs, accompanied by the zither, which expresses the poignancy of Wen Ji's homesickness and ionization, as well as her vast resentment. It is now the most widely circulated zither song.

Eighteen Beats of Hu Jia: an ancient qin piece, rumored to be composed by Cai Wen Ji, a vocal suite of 18 songs, accompanied by qin. In Turkic language, "beat" is "head", and the name of "Hu Jia" is the reason why the sound of the qin melts the mournful sound of Hu Jia.

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8 Li Yuxian

Famous Guqin Artist, Music Educator, President of Fujian Guqin Research Society

Li Yuxian is the representative of Fujian School of Guqin, who practiced Guqin at the age of sixteen. At the age of 16, he was trained by Zhang Zhengyin, a famous guqin educator, and then by Xia Yifeng, a famous qin master. 1965, he studied under Liu Jingshao and Zhang Ziqian, and was privately trained by Guan Pinghu and Wu Jingliu, and now teaches at the Fujian Provincial Art School.

Wind and Clouds

According to the "Secret Score of Zhu Tongjun"

Min School of Guqin Masterpieces

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Pingsha Lying Geese

Pingsha Lying Geese is a piece of guqin music. It is a piece of ancient qin music, which has been handed down in various genres. Its meaning is to borrow the faraway ambition of a partridge to write the heart of an escaped scholar.

Pingsha Falling Geese: a guqin piece, first published in the Ming Dynasty in the Ancient Tone (1634), also known as "Geese Falling in Pingsha". Since its inception, the publication of the spectrum of the collection of more than 50 kinds, there are a variety of schools of music, only in 1962 the publication of the "guqin music collection" of the first collection of six zither player's performance of the sheet music, about the author of this song, there is the Tang Dynasty, Chen Liang said; the Song Dynasty, Mao Minzhong, Tian Ziweng said, and said that it is the Ming Dynasty, Zhu Quan made. Because of the lack of reliable historical information, it is difficult to confirm from whose hands.

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9 Li Fengyun

Famous guqin player, president of Tianjin Guqin Society

March, 1990, held a successful solo guqin concert in Tianjin.

Meizue Yue

According to the Xilutang qin system

Xilutang qin system

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10 Zeng Chengwei

Famous guqin player, vice professor of the folk music department of the Sichuan Conservatory of Music, and the president of the Sichuan Guqin Society. Associate Professor of the Folk Music Department of the Sichuan Conservatory of Music and President of the Jinjiang Zither Society

Associate Professor of the Folk Music Department of the Sichuan Conservatory of Music and President of the Jinjiang Zither Society. He has attended many national academic conferences, participated in large-scale performances, visited Japan, Australia, Singapore, and successfully held solo recitals in the Hong Kong City Hall, Beijing, Nanjing and Chengdu Concert Halls. In 2005, he went to the Royal Academy of Music to give lectures, and was the first person to go to the United Kingdom to give lectures in Sichuan Conservatory of Music, and he has published his personal albums "The Chinese Guqin" and "Rhythm of the Guqin in Shuzhong". Zeng Chengwei in the guqin production is also extraordinary attainments, the production of the guqin by the qin people at home and abroad favorite.

The Lonely Pavilion Encountering the Gods

Yu Shaoze's score is based on the Xilutang Qintong

The piece is said to have been composed by Jikang, and it is contained in the Xilutang Qintong, edited by Wang Zhi in the twenty-eighth year of the Ming dynasty (A.D. 1549).

It is said that the music tells a mythological story with the help of musical language: Jikang played the qin in the quiet night, and after a gust of wind and thunder and lightning, there was a ghost that appeared and told Jikang what had happened to him.

The style of the song is fluttering and strange, quite apart from the mountains, the world of two confused feeling

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11 John ThmpsonTangShiZhang

American zither player

After completing a Bachelor's Degree in Western Musicology and a Master's Degree in Asian Cultural Studies, Tang furthered his studies in Ethnomusicology. In 1974, he began studying the qin with Sun Yuxin, a native of Hebei province, who studied from 1915 to 1990. A native of Hebei province, Sun moved to Taiwan in 1949 and was awarded the title of "Master of Folk Art" in 1989, one of the first masters to receive this honor.

In view of the relatively small repertoire of the zither, Tang Shizhang began to "play" the music according to the old scores in 1976, to determine the tempo of the music (although the old scores of the guqin listed the tuning method, fingerings, and fingering, they did not directly indicate the timing of the notes); and to concentrate on the study of the sacred scores. In 1976, Tang Shizhang settled in Hong Kong and began to study with Tang Kin-woon, consulting with various qin masters and traveling to China to perform his new "beat" guqin compositions. In 1992, the Ethnic Music Committee of the China National Music Association held a conference in Beijing, "The Magical Secret Score Academic Exchange Conference", and Tang Shizhang was invited to attend and was the focus of the conference.

In 1991, Tang Shizhang completed the scoring of all the old scores of the Divine Record (****wrote 350 pages of five-line scores) and made his own recordings (about five and a half hours). Then he started to learn the ancient music from the old scores of a later date, and specialized in Zhejiang scores.

In 1980, Tang Shizhang became the editor of the Hong Kong Asian Arts Festival. In 1986, he became the Artistic Advisor of the Festival, and traveled frequently to and from Asia to watch performances, and had frequent contact with performing artists and arts groups. When he returned to Hong Kong, he lived on the small island of Cheung Chau, where there is still no automobile, and concentrated on guqin music.

Phoenix

Originally from the Meian Qin Records

The Phoenix was written late in the 16th century in the book Xilutang qin tutong, which was edited in the mid-16th century (there is also a Wenjun yao from Fengxuan xuanping, which has the exact same theme, from the same period). Another piece that is more commonly heard nowadays, "Phoenix", with its score, appeared even later, in the Meian zither score, edited at the beginning of the last century. Although these are the scores that were sung and circulated in later generations, people have always associated "Phoenix" with the affair between Sima Xiangru and Zhuo Wenjun. Thus, "Phoenix" has become a traditional famous song.

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12 Li Xiangting

Famous guqin artist, president of the China Qin Society, vice president of the Beijing Guqin Research Society, and professor of guqin at the Central Conservatory of Music

Since 1963. Performed in more than 10 countries and regions and organized more than 40 solo concerts.

Running Water

Tianwenge Qin Score by Guan Pinghu

Originally from "Boya's Drumming and Meeting a Knowing Soulmate"

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The Three Plum Blossom Songs

Also known as < < Plum Blossom Song, the three plum blossoms of the plum blossoms of the plum blossoms of the plum blossoms of the plum blossoms of the plum blossoms of the plum blossoms. <Plum Blossom Quotes>>, <<Plum Blossom Quotes>>, <<Yu Ji Quotes>>. The earliest version is in <<Magical Secret Records>>. It is said to be a flute piece composed by Huan Yi of Jin (265--420) more than fifteen hundred years ago. Later generations moved it to the zither (one says it was composed by Yan Shigu of the Tang Dynasty).

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13 Wang Yongchang

Contributing Researcher of China Academy of Management Science

Was Academic Committee Member of the 95th International Exchange Association of Chinese Guqin Art, Deputy Editor-in-Chief of the Dictionary of Celebrities", deputy editor-in-chief. He is the main representative of the Meian School of Guqin and Yingzhou School of Pipa.

Pounding Clothes

The name of this piece is found in the Qing Shang Daqu of the Tang Dynasty. There are also various kinds of qin tunes. The one currently popularized by the Shandong qin school has been widely published in qin compositions of all generations. The one made by Qian Zhanshou is only found in his "Qian's Ten Exercises" (1880), with a tune that is tight and slow, rather like "pounding clothes and pounding clothes again and again, pounding deeper into the night when the moon falls." The tune is tight and slow. It is said to have been composed by Pan Tingjian in the Tang Dynasty. During the cool season of autumn, women in every family make winter clothes for their relatives, for which they need to pound clothes, so it is called "Pestle and Mortar" and "Pounding Clothes in the Autumn Courtyard". The music expresses the women's infinite longing for their loved ones in distant places. Yang Whirlwind's analysis of the music's content is: "the beginning is the feeling of the autumn wind and pounding clothes", "followed by the sadness of the disappearance of fish and geese", and "the end is the flight of dreams and souls in the northern part of the country". Li Bai once said in a poem: "There is a moon in Chang'an, and the sound of pounding clothes in ten thousand houses. The winds of autumn do not blow out, but always the feelings of the Jade Gate. When will we level the hu captives, the good man to stop the expedition."

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14 Liu Chicheng

Guqin virtuoso, national-level player, member of the Chinese Musicians Association, and president of the Meianqin Society in Anhui Province

Liu Chicheng is the founder and director of the "Zhucheng School" of the Guqin in China. "Liu Chicheng is the third generation of the Zhucheng School of Chinese Guqin, and has been awarded the title of "National Musician of Mainland China".

Changmen Grievance

Changmen, the famous guqin piece Changmen Grievance, first appeared in the folklore of the Qing Dynasty, based on the story of Chen Ajiao's banishment to the Changmen Palace after Emperor Wu of the Han Dynasty. Although Ajiao with ten thousand gold to get Sima Xiangru's magnificent rhetoric, but can no longer seek to return to the feelings of the former Emperor Wu of Han. Later generations took the meaning of Sima Xiangru's famous piece "Changmen Fugue" as the meaning of the song and composed the zither piece "Changmen Grievance", which has become a well-known zither piece that has been passed down to this day. It is one of the famous representative pieces of the Meian school of qin. The poignant melody expresses the sadness and grief of Chen Ajiao, the Empress of Emperor Wu, when she was banished to the Palace of Changmen after losing her favor, and her feelings are like sobbing, depicting the despair and sadness of Chen Ajiao as if she were facing an abyss. In the high register, the piece has a more aggressive performance rarely seen in zither music, and in the low register, it is mournful and poignant, as if weeping and complaining. It is now commonly used to express the sadness of abandoned women in the world.

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