What kind of music can fix the mind.

The guqin is the earliest stringed instrument of the Chinese nation and a treasure of traditional Chinese culture. It is a treasure of traditional Chinese culture. It is treasured by the world for its long history, vast literature, rich connotation and far-reaching influence. Zeng Houyi Tomb in Hubei unearthed in kind more than 2,400 years ago, since the Tang and Song Dynasties, there are ancient qin masterpieces have been handed down. There are more than a hundred kinds of zither scores from the North and South Dynasties to the Qing Dynasty, with 3,000 zither tunes and a large number of documents about zither artists, zither theories, zither systems, and zither arts, which make the richness of the survivals the most abundant of all Chinese musical instruments. In ancient times, the qin, chess, calligraphy and painting were known together to summarize the traditional culture of the Chinese nation. Throughout the ages, many famous performers have emerged, and they are historical and cultural celebrities who have been celebrated from generation to generation. During the Sui and Tang dynasties, the guqin was also introduced to the East Asian countries, where it has become a part of the traditional culture of these countries. In recent times, it has accompanied the Chinese all over the world, and has become a symbol of Eastern culture in the minds of Westerners.　The first records of the guqin can be found in the "Classic of Poetry" and the "Book of Songs". In the book of Shangshu, it is written: "Shun played the five-stringed zither and sang the poetry of the southern kingdom, and the world was ruled." It can be seen that the zither was originally five-stringed, and there were seven strings in the Zhou Dynasty. In the Eastern Han Dynasty, Ying Shao (应劭), "The seven strings of the qin are the seven stars of the law, with the big strings for the ruler and the small strings for the subjects, and the kings of Wen and Wu added two strings to harmonize the grace of the ruler and the subjects." During the Three Kingdoms period, the guqin's seven-string and thirteen-emblem system was basically stabilized, and has been passed down to the present. The guqin is mainly played in two forms: qin song and solo performance. According to the literature, during the pre-Qin period, the guqin was mainly popular among people above the rank of scholars, in addition to being used in the elegant music of suburban temples and rituals, pilgrimages and ceremonies, and it flourished in the folklore after the Qin Dynasty. On the form of qin for vocal accompaniment, as early as in the "Shangshu", there have been "wrestling pat qin and sepals to sing" records. Zhou Dynasty, more than the qin and seals accompanied by singing, called "string song", that is, since the Tang and Song Dynasty, the so-called qin song. From the Han Dynasty, Cai Yong's "qin play", there are five songs, that is, the string song of the Zhou Dynasty, of which "twelve play", "nine quotes", and "Hetian miscellaneous songs", are all aid qin and song. During the Spring and Autumn Period and the Warring States Period, the guqin's solo music had a certain artistic expression ability, such as the legend of Bo Ya playing the qin and Zi Zhi listening to it. At that time, there were famous qin masters such as Shi Juan of Wei, Shi Kuang of Jin, Shi Wen of Zheng, and Shi Sang of Lu, etc. Famous qin songs such as High Mountain, Flowing Water, Pheasant Flying, Yangchun, and Baixue, etc., have been recorded in the annals of history.　In the period of Han, Wei and Six Dynasties, there was a significant development in the art of guqin, in addition to the "Xianghe Song" and "Qing Shangle" as an accompanying instrument, it also appeared in the form of "but song" performance. For example, the instrumental piece "Guangling San", "Big Hu Jia Ming", "Small Hu Jia Ming", etc. reflected an important development stage of guqin as an instrumental music performance. During the Sui and Tang dynasties, the music of the western regions was prevalent and the pipa emerged, so the development of guqin music was suppressed to a certain extent. However, the production of guqin scores not only promoted the spread of guqin music at that time, but also had far-reaching historical significance for the inheritance and development of guqin music in the later generations, which made the history of ancient Chinese music enter a period with sound to follow. The poets of Tang Dynasty, such as Li Peak, Li Chip, Li Bai, Han Yu, Bai Juyi, Zhang Hu, Yuan Zhen, etc., all wrote immortal poems for guqin. Xue Yijian summarized the role of the guqin music in his book "The Secret of the Qin" as follows: "You can observe the wind and religion, take in the heart and soul, discern joy and anger, delight in the emotions, quiet the mind, strengthen the courage and bravery, eliminate the dust and vulgarity, and frame the ghosts and the gods." And puts forward the player must be "fixed spirit and anxiety, emotionally focused", for later generations of qin masters to pay attention to, thus leading to a lot of norms of playing the qin. In the late Tang Dynasty, Cao Rou created the minus-word score in view of the fact that the textual score was "extremely complicated" and inconvenient to use. That is to say, on the basis of the textual score, the Chinese character score is reduced to a kind of score, similar to the playing symbols, which is the early form of the Guqin's minus-character score. In the Song Dynasty, on the one hand, there was a nostalgic tendency towards retroism, on the other hand, due to the long practice of the guqin in the performance of "Xianghe Song" and "Qing Shangle", the profound connection with folk music, and the historical tradition of the qin music, "the old sound of the Chu and Han dynasties", the music of the guqin was not obliterated in the tendency towards retroism, but rather, it had its own twists and turns in its development.　　During the Ming and Qing Dynasties, due to the development of printing technology, a large number of zither scores were published and circulated, and there are more than 140 kinds of zither scores in the records, from which it can be seen that there are more than 300 zither songs created in the Ming Dynasty alone. In the early Ming Dynasty, Leng Qian's "Sixteen Methods of Zither Sound" was a theory on the aesthetics, playing techniques and artistic expression of the guqin.　During the late Qing Dynasty and the Republic of China, due to war and social changes, especially the limitations of the guqin itself, guqin music was on the verge of extinction. At that time, a number of qin societies emerged throughout the country, such as the Yueyun qin collection in Beijing, the Deyin qin society in Jinan, the Jinyu qin society in Shanghai, the Chuanxuan qin society in Changsha, the Yuanxuan qin society in Taiyuan, the Guangling qin society in Yangzhou, the Qingkouqin society in Nanjing, and the Mei'an qin society in Nantong, etc., and all of them had a certain degree of social influence in their activities. In particular, the "Jin Yu Qin Society" in Shanghai lasted the longest and had the greatest influence on the qin community. After the founding of the People's Republic of China, the government paid attention to the guqin music and rescued the music, investigated, collected, and organized the various genealogies lost in the folklore and recorded a number of sound; discovered a number of lost qin tunes, such as the "Guangling San", "The Orchid", etc.; and cultivated a number of guqin musicians for the future collation of the guqin music, research, and development of the guqin music to open up a new prospect. Famous qin artists include Guan Pinghu, Wu Jingliu, Long Qinfang, Cha Fuxi, Zhang Ziqian and Xia Yifeng.　　The qin school The qin school is a school formed by qin players with the same artistic style. The name "qin school" is derived from the Yushan School of the late Ming Dynasty and the Guangling School of the Qing Dynasty. The difference between the schools is mainly determined by the region, the teacher and the genealogy. Zither players in the same region often communicated with each other, learned from each other, and at the same time absorbed the influence of local folk music, thus forming similar performance styles and giving the zither music a special local color. Later generations of qin schools were divided into regions and named, such as the Yushan School centered on Changshu, Jiangsu Province, and the Guangling School centered on Yangzhou, Jiangsu Province.　　Famous schools of qin include: Zhejiang School, Songjiang School, Jinling School, Wu School, Zhongzhou School, Min School, Lingnan School, Chuan School, Jiuyi School, Zhucheng School, Guangling School, Yushan School, Shaoxing School, Meian School and so on.　　The Qin Situation Xu Shangying of the Ming Dynasty wrote this article in the 14th year of Chongzhen (1641 AD). The so-called "zither condition" is the condition of the zither, the state of mind, the flavor, and the interest of the zither. Xu Shangying, according to Song Cui Zundu's principle of "clearness and quietness, harmony and distance", modeled after Sikongtu's "Twenty-four Poetry Pieces", and based on Leng Qian's "Sixteen Methods of Zither Sound", put forward twenty-four conditions of the zither, and explored in-depth the many aspects of the zither such as the fingers and the strings, the sound and the meaning, the shape and the spirit, and the virtue and the art, and put forward the concepts of deeper than "climate "The "qi" is used as an intermediary, so that "the essence of the sound should be in accordance with the profoundness of the meaning". He believed in the aesthetics of playing. He believed that macro and fine, light and heavy, late and fast should not be used in preference to each other, which was a breakthrough in the thinking of the predecessors. He also put forward the requirements of "beautiful sound" of brightness, picking, moistening and roundness, emphasized the role of imagination and association in playing and appreciation, and pursued the beauty of heartfelt sound and innuendo, which were also developed in the thoughts of the predecessors. The Xishan Qin Situation is a collection of aesthetic ideas of the ancient qin culture, which has a great influence on the development of qin culture in later times.　　The Sixteen Methods of Zither Sound Leng Qian's Sixteen Methods of Zither Sound can be found in Xiang Yuanbian's Nine Recordings of Banana Window in the Ming Dynasty. Leng Qian's "Sixteen Methods of Qin Sound" was written in Xiang Yuanbian's "Nine Records of Banana Window" in the Ming Dynasty. The sixteen methods of qin sound actually put forward sixteen aesthetic categories, in an attempt to summarize and base on the aesthetics of the qin music. The sixteen methods are: lightness, looseness, brittleness, smoothness, height, cleanliness, purity, emptiness, ghost, oddity, antiquity, tameness, neutrality, harmony, speed, and Xu. Under each aesthetic category, Leng Qian discusses its connotation and extension in more detail, attempting to guide readers to grasp the beauty of the guqin's sound from different essences and phenomena and aesthetic characteristics.　　　　　　　　　　　　　　　　　The status quo of the Guqin: The Guqin was the most revered musical instrument in ancient China, ranking first among the "qin, qi, qi, shu, zhu, and painting". The allusion to "high mountains and flowing water" has been passed down for thousands of years, and is still being enjoyed by people. It can be said that the significance and value of the guqin far exceeds that of ordinary musical instruments, and the cultural connotation of guqin music also far exceeds that of music.　　However, the survival of the guqin is not optimistic. There are very few people who understand the guqin, and the fact that the guqin is seldom played on public occasions has resulted in the public's familiarity with the guqin and the low degree of importance attached to it, with many people confusing the guzheng with the guqin. It is a fact that the Music Research Institute of the China Academy of Art has no one specializing in guqin research.　　Mr. Wu Zhao, president of the China Guqin Research Association, said that the guqin has not been a popular musical instrument since ancient times, and that the guqin is more of an elegant hobby for cultured people. In an interview with China's Newsweek, Mr. Wu Zhao said, "The guqin is one of the weaker ones in the whole range of ethnic musical instruments."　　There are many reasons for the decline of the guqin, most notably the fact that the guqin community has long existed in a posture of solitude. Zhao Jiazhen, a professor of guqin at the Central Conservatory of Music, told reporters that the art of guqin has been stuck in a rut for some time in the past, and that guqin practitioners should be held responsible for the reality that the popularity of the guqin is not high. Zhao Jiazhen said, "The guqin is ultimately a musical instrument, not an antique. In the future, if the guqin is still restricted to meeting friends with the qin, the guqin will die sooner or later."　　Li Fengyun, associate professor of Tianjin Conservatory of Music and famous young guqin player, holds the same view. She said in an interview with this magazine, the guqin is not right to see the guqin as more elegant than other instruments, the guqin should be adapted to the trend of market economic conditions, on the stage, to the audience.