| In retrospect of Chinese history, the era of Fore-Qin dynasty is an important period of social transformat on: the slavery was descending and the feudalism was booming up. During that shocking period, politic and economy had experienced extraordinary development ever since. Culture appeared unprecedented prosperity at that time; various ideas and thoughts were coming up freely for communicating, debating and conflicting. Meanwhile Chinese music instrument had got fabulous development, people abandoned the out-off-date criteria of "eight tone" that classified instrument by thematerials used for manufacture, only taking Qin and Se as the string sort as in West Zhou dynasty.Up till the era of Chunqiu and Zhangguo, Guzheng and Zhu were readily added on as string instruments. Of all, Guzheng was regarded as the most representative instrument at that time and even became the culture symbol of the Qin dynasty.This article is composed of three parts: The first part introduces the culture background of the Qin's Guzheng. Commonly, Qin's Guzheng are defined into two different levels;from the broad point of view, Qin's Guzheng represents Chinese Guzheng. Comparatively, from nanow viewpoint Qin's Guzheng is specified for the style of Qin's territory, the character of Qin's resident, the unique of Qin's traditional music, the features of Qin's "Yuefu" as well as the status it positioned in empire palace. Throughthese analyses, we can conclude that the Qin's music was greatly impacted by such factors as the Qin's racial formation, the temple music from West Zhou dynasty and free long-tones song by reaming tribe. However,Qin's empire palace inherited the elegant music that was populated in West Zhou dynasty, Qin's "Yuefu" inclined to adopt Zhengwei music other than Guzheng music.Correspondingly, the King of Qin inclined in favor of "popularmusic" other than 23the traditional counterpart.The second part introduces the Guzheng art in the era of Fore-Qin. The discussion wasbased on a variety of materials and viewpoints such as documents relevant to Guzheng history, archeological finding relationship among Guzheng, Se and Zhu, format of music, playing method and mimic nail skill. Through the analyses above, it can be clarified that it was in the 237 BC that Guzheng was firstly recorded in the authorized historical archives. "The historical bible on Li Shi biogtaphy" had noted that the first archeological finding of Guzheng was in the year 500 BC at Guixi, a small place in today's Jiangxi province (where belonged to Yue state at that time). Another archelolgical finding was in Shaoxing, a town in Zhejiang province, but unfortunately, there aren't historical records and worth of being confiemed furtherly. By comparing with Zhu and Se, we can draw out the profile of Guzheng: it has a rectangular box profile with one resonant cavity and a surface plate made of either bamboo or wood. It has strings, pad with five strings, thirteen strings or both, the format of playing Guzheng maybe both orchestra and accompany. Through archeological discovery, we can initiallyidentify that there existed the substitution of mimic nail in theera of Fore-Qin dynasty indeed.In the third part, we discuss the roadmap of Qin's music that was initiated by an articletitled "The Letter For Expelling Customers". After analyses of this article, we can make the conclusion that Qin's Guzheng had experienced a circle development traks. It sourced form folk music, floating to the empire palace, and then returning back. Fore-Qin music had experienced three development phases: the first period is from the establishment of Qin dynasty to the period that Shangyang take social reform, the music featured with multiple resource fulfilled with music elements from local culture, temple music, freelong-tone, and their mixture. The second phase began from Shangyang reform to the time ruled by Qin's king. The culture focused on drawing culture essences from the other six states. The third phase is from the regime of Qin's King to the time that first united feudalism...
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