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es ku 3 ch in 2 ipa ku ̀ tɕʰi ̌ n ⓘ yue cantonese yale romanization gú kàhm southern min tâi lô kóo khîm middle chinese middle chinese gim old chinese baxter sagart 2014 c ɢ r ə m guqin and its music unesco intangible cultural heritage country china reference 61 region asia pacific region inscription history inscription 2003 3rd session list representative unesco cultural heritage the guqin ku ̀ tɕʰi ̌ n ⓘ is a plucked seven string chinese musical instrument it has been played since ancient times and has traditionally been favoured by scholars and literati as an instrument of great subtlety and refinement as highlighted by the quote a gentleman does not part with his qin or se without good reason 1 as well as being associated with the ancient chinese philosopher confucius it is sometimes referred to by the chinese as the father of chinese music or the instrument of the sages the guqin is not to be confused with the guzheng another chinese long stringed instrument also without frets but with moveable bridges under each string traditionally the instrument was simply referred to as the qin 琴 2 but by the twentieth century the term had come to be applied to many other musical instruments as well the yangqin hammered dulcimer the huqin family of bowed string instruments and the western piano gangqin and violin 小提琴 xiaotiqin are examples of this usage the prefix gu 古 ancient was later added for clarification thus the instrument is called guqin today it can also be called qixian qin 七絃琴 seven stringed qin because robert hans van gulik s book about the qin is called the lore of the chinese lute the guqin is sometimes inaccurately called a lute 3 the guqin is a very quiet instrument with a range of about four octaves and its open strings are tuned in the bass register its lowest pitch is about two octaves below middle c or the lowest note on the cello sounds are produced by plucking open strings stopped strings and harmonics the use of glissando sliding tones gives it a sound reminiscent of a pizzicato cello fretless double bass or a slide guitar the qin has 13 hui 徽 which represent the different position in one string pressing different hui produces different sound keys the qin is also capable of many harmonics of which 91 are most commonly used and indicated by the dotted positions by tradition the qin originally had five strings which represent gong shang jue zhi yu in the ancient chinese music system but ancient qin like instruments with only one string or more strings have been found the modern form has been stabilized to seven strings there are more than 3 360 known surviving pieces of guqin music from ancient and imperial periods on 7 november 2003 unesco announced that the chinese guqin was selected as an intangible world cultural heritage in 2006 guqin was listed in the list of national non material cultural heritage in china in 2010 a song period guqin was sold for 22 million making it the most expensive musical instrument ever sold 4 history edit the tang dynasty 618 907 qin the jiu xiao huan pei main article guqin history a girl playing a guqin eastern han dynasty collection of the musée des arts asiatiques de toulon france legend has it that the qin the most revered of all chinese musical instruments has a history of about 5 000 years and that the legendary figures of china s pre history fuxi shennong and huang di the yellow emperor were involved in its creation nearly all qin books and tablature collections published prior to the twentieth century state this as the actual origins of the qin 5 although this is now viewed as mythology it is mentioned in chinese writings dating back nearly 3 000 years and examples have been found in tombs from about 2 500 years ago the exact origins of the qin is still a very much continuing subject of debate over the past few decades in 1977 a recording of flowing water liu shui as performed by guan pinghu one of the best qin players of the 20th century was chosen to be included in the voyager golden record a gold plated lp recording containing music from around the world which was sent into outer space by nasa on the voyager 1 and voyager 2 spacecraft it is the second longest excerpt included on the disc the reason to select a work played on this specific instrument is because the tonal structure of the instrument its musical scale is derived from fundamental physical laws related to vibration and overtones representing the intellectual capacity of human beings on this subject in 2003 guqin music was proclaimed as one of the masterpieces of the oral and intangible heritage of humanity by unesco 6 schools societies and players edit the painting ting qin tu listening to the qin by the song emperor huizong 1082 1135 song dynasty painting depiction of the joyful aspiration in guqin and story telling by liu songnian as with any other musical tradition there are differences in ideals and interaction between different people therefore there exist different schools and societies which transmit these different ideas and artistic traditions historical schools edit this section is an excerpt from qin schools edit a qin school 琴派 qin pai in chinese is a school of guqin players that play in a style that is different from other styles people often talk about regional styles because such a model simplifies things and because it is still somewhat applicable though less so now than 100 years ago generally guqin is highly individualistic so players approaches will be very personal guqin societies edit main article list of guqin societies there is a difference between qin schools and qin societies the former concerns itself with transmission of a style the latter concerns itself with performance the qin society will encourage meetings with fellow qin players in order to play music and maybe discuss the nature of the qin a gathering like this is called a yaji 雅集 elegant gathering and takes place once every month or two sometimes societies may go on excursions to places of natural beauty to play qin or attend conferences they may also participate in competitions or research societies do not need strict structure to adhere to they can operate on a leisurely basis the main purpose of qin societies is to promote and play qin music they create opportunities to network and learn to play the instrument to ask questions and to receive answers players edit many individuals through the ages have played the guqin both occupationally and avocationally however it is often associated with literati or gentlemen in particular 7 certain melodies are also associated with famous gentlemen like confucius qu yuan ouyang xiu and su shi or with poems from the classic of poetry shijing 詩經 8 some emperors of china also had a liking to the qin including the song dynasty emperor huizong as clearly seen in his own painting of himself playing the qin in ting qin tu 聽琴圖 listening to the qin 9 historical edit confucius philosopher 551 479 bce associated with the pieces kongzi duyi 孔子讀易 weibian sanjue 韦编三绝 韋編三絕 and youlan 幽兰 幽蘭 bo ya qin player of the spring and autumn period associated with the pieces gao shan 高山 and liu shui 流水 zhuang zi daoist philosopher of the warring states period associated with the pieces zhuang zhou mengdie 莊周夢蝶 and shenhua yin 神化引 qu yuan 340 278 bce poet of the warring states period associated with the piece li sao 離騷 cai yong han musician traditionally attributed author of qin cao 琴操 cai wenji cai yong s daughter associated with the piece hujia shiba pai 胡笳十八拍 etc sima xiangru han poet 179 117 bce zhuge liang 181 234 chinese military leader in the three kingdoms one legend has him playing guqin calmly outside his fort while scaring off the enemy attackers ji kang one of the seven sages of the bamboo grove musician and poet writer of qin fu 琴賦 li bai tang poet 701 762 bai juyi tang poet 772 846 song huizong song emperor famous for his patronage of the arts had a wanqin tang 萬琴堂 10 000 qin hall in his palace guo chuwang patriot at the end of the song dynasty composer of the piece xiaoxiang shuiyun 潇湘水云 瀟湘水雲 the classical collections such as qin shi qinshi bu and qinshi xu include biographies of hundreds more players 10 contemporary edit main article contemporary guqin players contemporary qin players extend from the early twentieth century to the present more so than in the past such players tend to have many different pursuits and occupations other than qin playing there are only a few players who are paid to exclusively play and research the guqin professionally and nothing else qin players can also be well versed in other cultural pursuits such as the arts or they can do independent research on music subjects often players may play other instruments not necessarily chinese and give recitals or talks performance edit the note range of a qin guqin notes translated to western letter notation letters on the left indicate open string notes points on the top correspond to hui from 1 to 13 during the performance of qin musicians may use a variety of techniques to reach the full expressing potential of the instrument there are many special tablatures that had developed over the centuries specifically dedicated to qin for their reference and a repertoire of popular and ancient tunes for their choice playing technique edit main article guqin playing technique the tones of qin can be categorized as three characteristic sounds the first type is san yin 散音 which literally means unfettered sound it s the fundamental frequency produced by plucking a free string with the fingers of the right hand the second type made by plucking a string with the right hand and gently tapping specific note positions on the string with the left hand will create a crisp sound named fan yin 泛音 floating sound or overtone harmonics the equivalent technique in western music is the string harmonic or flageolet important scale notes called hui 徽 are marked by 13 glossy white dots made of mica or seashell inset in the front surface of the qin occur at integer divisions of the string length the crystal concordant perfectly harmonic overtones can only be evoked by tapping the strings precisely at these hui the third type is an yin 按音 案音 pressed sound 11 which is sometimes also called shi yin 實 音 full sound or zou yin 走 音 changing sound these comprise the major cadences of most qin pieces to play an yin the musician stops a string at a specific pitch on the board surface with the left thumb middle or ring finger strikes the string with the right hand then they may slide the left hand up and down to vary the note according to the book cunjian guqin zhifa puzi jilan there are around 1 070 different finger techniques used for the qin thus the qin is possibly the instrument with the most playing techniques in both the chinese and western instrument families 12 most of the qin s techniques are obsolete but around 50 of them still appear in modern performance sometimes guqin can be played with a violin bow 13 it has a tone similar to that of a cello but raspier 挑 tiao 勾 gou 擘 bo 撥 bo the above four figures are from an old handbook 14 tablature and notation edit the recordings below were made in 2013 yangguan sandie 陽關三疊 three refrains on the yang pass theme from the qinxue rumen 琴學入門 1867 zuiyu changwan 醉漁唱晚 evening song of the drunken fisherman from the tianwen ge qinpu 天聞閣琴譜 1876 problems playing these files see media help main article guqin notation see also qinpu first section of youlan showing the name of the piece jieshi diao youlan no 5 the preface describing the piece s origins and the tablature in longhand form chinese wikisource has original text related to this article jieshi diao youlan 碣石調幽蘭 written qin music did not directly tell what notes were played instead it was written in a tablature detailing tuning finger positions and stroke technique thus comprising a step by step method and description of how to play a piece some tablatures do indicate notes using the gongche system or indicate rhythm using dots the earliest example of the modern shorthand tablature survives from around the twelfth century ce an earlier form of music notation from the tang era survives in just one manuscript dated to the seventh century ce called jieshi diao youlan 碣石調幽蘭 solitary orchid in stone tablet mode it is written in a longhand form called wenzi pu 文 字 譜 written notation said to have been created by yong menzhou 雍門周 during the warring states period which gives all the details using ordinary written chinese characters later in the tang dynasty cao rou 曹柔 and others simplified the notation using only the important elements of the characters like string number plucking technique hui number and which finger to stop the string and combined them into one character notation this meant that instead of having two lines of written text to describe a few notes a single character could represent one note or sometimes as many as nine this notation form was called jianzi pu 減 字譜 reduced notation and it was a major advance in qin notation it was so successful that from the ming dynasty onwards a great many qinpu 琴 譜 qin tablature collections appeared the most famous and useful being shenqi mipu the mysterious and marvellous tablature compiled by zhu quan the 17th son of the founder of the ming dynasty 15 in the 1960s zha fuxi discovered more than 130 qinpu that contain well over 3360 pieces of written music however many qinpu compiled before the ming dynasty are now lost and many pieces have remained unplayed for hundreds of years 16 repertoire edit the qinxue rumen 琴學入門 1864 tablature has dots and gongche notation next to the qin tablature to indicate beats and notes qin pieces are usually around three to eight minutes in length with the longest being guangling san 廣陵散 which is 22 minutes long other famous pieces include liu shui 流水 flowing water yangguan san die 阳关三叠 陽關三疊 three refrains on the yang pass theme meihua san nong 梅花三弄 three variations on the plum blossom theme xiao xiang shui yun 瀟湘水雲 mist and clouds over the xiao and xiang rivers and pingsha luo yan 平沙落雁 wild geese descending on the sandbank the average player will generally have a repertoire of around ten pieces which they will aim to play very well learning new pieces as and when they feel like it or if the opportunity arises players mainly learn popular well transcribed versions often using a recording as a reference in addition to learning to play established or ancient pieces very well highly skilled qin players may also compose or improvise although the player must be very good and extremely familiar with the instrument to do this successfully a number of qin melodies are program music depicting the natural world transcription edit dapu 打譜 is the transcribing of old tablature into a playable form since qin tablature does not indicate note value tempo or rhythm the player must work it out for themselves normally qin players will learn the rhythm of a piece through a teacher or master they 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