Research On The Thoughts Of Qin Learning Of "Guangling Five Musical Scores" Preface And Postscript

Guangling Guqin School is a comprehensive Guqin School in the history of Chinese Guqin art.During its development,it has formed five far-reaching scores,namely music score of ChengJianTang,music score of WuZhiZhai,music score of ZiYuanTang,music score of JiaoAn,music score of KuMuChan,which are known as "Five Guqin scores of the Guangling School of Guqin".There are many versions of the "Five Guqin scores of the Guangling School of Guqin",and the number of prefaces and postscripts is rich.From the content of the prefaces and postscripts of the"Five Guqin scores of the Guangling School of Guqin",it contains rich thoughts on Qin Studies.This paper takes the theory of Fingering,the theory of Xingqing,the theory of refined and vulgar,the theory of the relation of Guqin and Zen as the starting point to analyze and study the Qin thought in the preface and postscript of"Five Guqin scores of the Guangling School of Guqin".In terms of the theory of Fingering,the writers of the preface and postscript of the "Five Guqin scores of the Guangling School of Guqin" were influenced by the practical learning of the Qing Dynasty,and paid particular attention to fingering.On the issue of the relationship between "technique" and "Tao",most of the writers admit the "Tao" of Qin music,but deny the opposite relationship between "Tao" and"technique" in the previous Qin theory,and pay more attention to the standardized expression of "technique".Compared with the relationship between "technique" and"Tao",the preface and postscript of "Five Guqin scores of the Guangling School of Guqin" are more willing to discuss the relationship between "technique" and"meaning" or "mind".From this point,we can see that the focus of the "Five Guqin scores of the Guangling School of Guqin" zither theory has gradually shifted from Taoism to the main personality of the zither player.This can be seen as a great progress from the perspective of the law of artistic development,which also lays a psychological foundation for the trend of the delicate and varied fingering style of Guangling School.When the preface and postscript of "Five Guqin scores of the Guangling School of Guqin" talk about fingering,they often talk about the related theories of calligraphy and painting,and use the brushwork to talk about fingering.Although it is not unique to Guangling’s Qin theory to "discuss the Qin with calligraphy",it is indeed a major feature of the "Five Guqin scores" fingering theory,which shows that the writers,in addition to inheriting the analogy tradition of traditional fingering theory,also acquiesce that piano learners should have comprehensive accomplishments such as calligraphy and painting in addition to working the Qin.In terms of the theory of Xingqing,in the traditional Concept of Chinese Qin,the connotation of "Xingqing" is deeply influenced by the music teaching thought of Confucianism,emphasizing the functional significance of " self-cultivation" and"control of emotion" of Guqin music.On the basis of inheriting the traditional theory of "Xingqing",Guangling Pai emphasized its ontological significance and expounded the proposition of " The origin of the voice comes from Xingqing".The monks of the Guangling Pai absorbed the epiphany thought of Zen and pointed out the meaning of "self-writing of Xingqing" in qin music,which has subversive significance to the traditional qin theory of "rejecting Buddha" thinking.The Guangling Qin Theory breaks through the single function orientation of the traditional Qin theory of "discipline the body and the mind",promotes the subject personality of the Qin people,and enriches the theoretical connotation of the traditional Qin theory of " Xingqing".As the people of Guangling Qin pay attention to the free expression of "Xingqing",the ups and downs and free and easy style of Guangling Qin music has also been formed.In terms of the theory of refined and vulgar,the preface and postscript of "Five Guqin scores of the Guangling School of Guqin" summarizes the connotation of"refined" and "vulgarity" in Qin music,and explains the connotation of "refined and vulgar" in Qin music from three perspectives:fingering and timbre,"Neutral tone is refined,strange tone is vulgar";In terms of musical style,"less sound is refined,more sound is vulgar";In terms of Qin music concept,"no lyrics are refined,but lyrics are popular".Although the preface and postscript of the "Five Guqin scores of the Guangling School of Guqin" frame "refined" and "vulgarity" in connotation,and show the tendency of "advocating refined",from the Qin music recorded in it,there is a phenomenon that the theory and practice of the "Five Guqin scores of the Guangling School of Guqin" are not unified,and many music elements that are considered to conform to the standard of "vulgar music" are not completely excluded by the "Five Guqin scores".In the actual style and features of the Guangling School of Qin music,it shows the characteristics of "both refined and popular taste".In terms of the theory of the relation of Guqin and Zen,part of the explanation of the preface and postscript of "Five Guqin scores of the Guangling School of Guqin"shows that Guangling Qin musicians have reflected and responded to the issue of "the debate between Confucianism and Buddhism",and subjectively accepted the group of "Qin monks".The practice of Guangling Qin monks created a number of Qin music with Buddhist aesthetic tendency,which is a direct reflection of the wave of"convergence of three religions" in the field of Qin science.The art of guqin has been mainly influenced by Confucianism and Taoism since its birth,but the significance of Buddhism in the study of guqin cannot be ignored.Under the influence of Zen’s"insight view" and "mind nature theory",the preface and postscript of the "Five Guqin scores" proposed the Qin Zen theory of "promoting Buddhism with the ancient zither",which can be seen as a further development of the Qin theory proposition of"attacking the zither is like meditation".In the preface and postscript of" Five Guqin scores",the aesthetic pursuit of the artistic conception of Qin music cannot ignore the influence of Zen thought.The interpretation of the artistic conception of Qin music by " Five Guqin scores" is closer to The artistic conception of Qin and Zen.The acceptance of Qin monks and the development of Qin and Zen thoughts are the concrete embodiment of the open and inclusive spirit of Guangling’s Qin studies.