Yangzong Ji Qin Series Of Research

<Qin Xue Cong Shu琴学丛书>,Series of the Qin Study, by Yang Zongji杨宗稷is the most representative learned book related to the Qin music culture in the first half of the 20th Century. Except cited as a classic document, it has not often been studied by scholars and Qin musicians academically, because of the difficulties and profundity lay under the richness of its contents and fields. The book covers two integrated aspects:the culture and music. It is therefore, the dissertation keeps this ethnomisicological view point as a core idea to open and develop the research and discussion.As opinions vary, some of the Yang Zongji's life and career path are debatable and unclear. Accordingly, through thoroughly investigation and study, the author resolved and clarified them as far as possible.Through a research of Huang Mianzhi黄勉之,who is the Qin master and predecessor of Yang Zhongji, and of Guan Pinghu管平湖,who is Yang Zongji's successor and Student, including the examples of musical analyses, the author further presented the lineage of Yang's Qin music tradition and transmission.In the domain of Qin culture, the author classified Yang's Twenty Eight Questions and Answers on Qin Music, titled<Qin Xue Wen Da琴学问答>,included in<Qin Xue Cong Shu>, into eight categories, that is Qin Pai琴派,Qin Music School; Qin Pu琴谱,Qin Music Score; Qin Zhi琴制,The Organological System of the Qin; Sheng Ge声歌,The Qin Music with Words; He Zou合奏,Ensemble Music of the Qin; Gong Neng功能,functions; Pai Ban拍板,Beats and Rhythm and Chuan Shuo传说,Sayings. According to these categories, the discussion of the article dipped into topics of the nature of Qin music, the course of change and development, Cultural values, the musical ideas and thoughts of Yang Zongji and its meaning to the contemporary society, etc. The result is that the feature of Yang as a traditional Qin musician and scholar in a social context of Western music's dissemination and the Qin music's decline is conspicuously depicted.Concerning the aspect of music, by following the structure of<Qin Jing琴镜>,a main part of <Qin Xue Cong Shu>, in which about thirty Qin music works are notated in Yang's Wu Hang五行system, and in accordance with Yang's own introductions, postscripts, annotations, and commentaries in sequence, the author, through a verity of detailed analyses concerning Yang's Qin music notation, the conception about Qin rhythm, the naming system of Qin tuning and its modality, the fingerings especially the vibrato-glissando of Qin performance practice, the creativity of filling original poetic words for Qin music and making new Qin music, expressed her own opinion annotation and critics.Although, limited by the structure and size of.the book, it's arranged in the appendix of the dissertation, the author still thought her translation of Yang's whole Qin music repertoire notated in Wu Hang notation in to modern Sol-Fa system is a main contribution for catering today's learners who willing to know and research Yang's Qin music and the performing style of Jiu Yi school. The author is, so far, the first explorer of taking comprehensive and systematic study approaching to the historical contribution of Yang Zongji in the Qin music culture. Yang's initiation of Jiu Yi Qin music school is fully acknowledged and, at the same time, owing to the limitation of the times, his academic inadequacy is also critically pointed in the writings of the thesis.