List of Monumental sculpture projects 2015

  • 1 http://swannbb.blogspot.fr/2015/02/sunday-robot-play.html
  • 2 http://shuengitswannjie.blogspot.fr/2015/02/interactive-reading-room-tea-house-2015.html
  • 3 http://swannbb.blogspot.fr/2014/06/neo-ming-bed-luxembourg.html
  • 4 http://swannbb.blogspot.fr/2013/02/yuzi-paradise-tell-moon.html
  • 5 http://swannbb.blogspot.com/2011/09/12th-changchun-international-sculpture.html
  • 6 http://www.saatchionline.com/Shuen-git

Tuesday, 30 June 2009

HuaHui, Ustad H. Sayeeduddin DAGAR Râg Bhopali, The Experiment, role play, performance


4 cubes today.

Listened to a concert on Youtube Indian chants - Ustad H. Sayeeduddin DAGAR Râg Bhopali - it takes 20mn of slow soft chanting and gradually it builds up to a "pea bursting" speed. Registered in France at a chateaux. Whole performance was approx 36mn.

Watched a talk by the Prof who did the Stanford Prison Experiment. He had a "fu man chu type of mustache". ( Who prefer moustache of this style? ) I saw the movie based on the real life experiment. How can you account for such an experiment? Even the conception of the "realistic" details, like the phony arrests... all this is so cruel. How can you not think that this is not "just an experiment" right from the start? Would it have been possible to test what he wanted without going through all this?

Another talk was rather humourous by somebody who did "pain" investigation, but he did it starting from his own skin burnt experience. This seem to be more responsible and more admirable as a research - because he used himself first and not take risks at other peoples expenses.

I think its not right to experiment using others when it involves unknown scales of sufferings - even if they give consent as in the case of the Stanford students - but the second guy gave electro shock to his samples... hmmm. Anyway the conclusion is, if anonymity prevails people can and do become a lot more cruel without any moral consideration. They had thought maybe only 1% of the people would be cruel - behave like Hitler - but it turns out to be 90%, if the action has no consequences to themselves when their name is undisclosed.

I was looking at "role play" - would people perform to a role specification? How much would they do to build up to the role playing?

The film I saw was a BBC documentary collaboration between Exeter University and BBC, "The Experiment" docu is not the Stanford experiment. This time, the prison and guards were also recrutied and tested psychologically, while the film was going on, (film=experiment) there was a team of doctors and professors making sure that no psychological harm comes to the participants. The experiment also ended earlier than planned.

I checked, the film I saw was not the BBC docu, it was Das Experiment a 2001 German film directed by Oliver Hirschbiegel. Also terrible to watch.

Surprise! Not only the Americans made the original experiment, the Germans made a movie, and the BBC did a documentary-reality tv with University research backing; another remake is starting in July 09, tomorrow!! remake of the Das Experiment! Why is this subject so good to re-do over and over again?

Monday, 29 June 2009

HuaHui coming up, underlying structure.

more air when the cubes are intercut w a void



BD Haiku said, this is a forteress, here the captain and the horsewoman, they do what they like here. I said, which of the two is a man and which is a woman. He said both are women, but women can do whatever they like.

I said, these cubes look so hard, and rough and like mediaeval armours... but I think it could look soft later, depends on how the whole is attached together. Which is the binding system that I will use?

I want to make a tensegrity structure, like soft without any hard structures inside. I think there is a way. Its the underlying puzzle, the mainframe that I want to solve now.

I often want to get the little pieces together first and then decide what is the best unifying element? What are these little pieces all about?

We say once the big structure is determined, you really cant change much. But on the other hand what about little pieces, if you have all these little pieces, can you make of them anyway you want? I just want to be surprised by myself.

Often, when you finally got it all together, you are so happy, you are so surprised that it all fit together... that is the difference between architecture and sculpture for me. I keep on wanting to change things all the time. In architecture you cant afford to do that. Your boss will kill you.

The boss = the guy who controls the purse string.

Saturday, 27 June 2009

Qin land



Ideally, in Qin land, people should be elegant - does not mean pretty clothes; all flashy - but free and open minded and spontaneous. Like Li Pos poems.

I looked at the Shosoin qin again, why not make an ornate Qin ? Nobody makes ornate Qins these day due to the drift of "QingWeiDanYuan" school of thought.

I think in Tang Dynasty, the music is unlikely to be "QingWeiDanYuan". :)

Girls plump and walk around on the streets in low cut dresses, horses with powerful behinds and legs like that, Qins with power and full fleshed forms. And that Li Po and all those poets, what could the Qin music be like at those times?

Friday, 26 June 2009

Thursday, 25 June 2009

Jim Binkley - Little Old Qin maker, 王悠荻 Guqin Compeititon first prize May09, On the road, Nice day

Little Old Qin maker, Jim Binkley - I am very impressed with his set up! Wow must go visit him on occasion.

I designed and made two original style of qin.
The Half Hundun and the Big Handscroll, both embryos were made at a Beijing Qin masters atelier, his name is TIAN Shuang Kun 田双昆 , one of the four student of Guan PingHu. I designed the qins using foam core, a scale 1:10 (if I remember correctly)The model was about 10inches long.

The lacquer + deerhorn powder coating was put on under the instruction of ZHENG MingZhong, the palace museum specialist.

While I was visiting him at his home, I saw he had lots of rescued qins on the wall. And I liked one of them very much, which was unpolished, the lacquer was in rough cheese clot state (but black color). The sound was really gd, makes no difference polished or not, he said.

So I asked if he could teach me how to make a qin, he said yes. So I designed 5 models, out of the 5, we picked out two. (Since you have to wait around for each coating to dry, making one or two needs the same block of time; so i decided to make two qins)

He gave some comments to which one is better sounding, there was one more round belly version I thought it would sound really good - acoustically speaking it would ressemble african tree drums - but in miniature - i thought. He said, it would take too much material, would be expensive, cost twice as much, so better use the more standard bodies. The wood is from 100 year old "shan" wood.

So I picked out my two favorite models and had them made to full size and put on the lacquer myself, but it took 2 years before I finish because I didnt have time to polish etc. Finally its finished. Am so happy. It remains to be one of my happiest "oeuvre" in the ensemble of Digital Guqin + Qin culture research. I adapted my tuning pegs from some very sturdy plexiglass tubes. Even though I have purchased two full sets of wood and tassels. I decided I like them transparent with tiny handmade short silky tassels and not the big candle like typical long strands.

Half Hundun Qin back

Half Hundun Qin pegs - adapted from plexi glass tubes with hand made tassels

Getting ready

Nice day today

王悠荻 May09 National Guqin Compeititon first prize : video here : GuangLingShan

Jiang Kang Sheng, search for music teacher in China,

Some videos of master players.
姜抗生
  中道琴社 0532-83826339
  地址:青岛市昌乐路文化市场文物楼5号楼221室
Teacher, Jiang Kang Sheng, 72yr old. Student of Wu JingLue

to search for a guqin teacher in China:
http://edu.huain.com/html/students/18/18616.html
search music teacher (or any other instrument), key in "Guqin 古琴", and choose city, location, a list of teachers plus hourly rates for lessons are displayed.

Palace Museum Expert ZhengMingZhong, Qin schools, useful info, summer courses, shopping, cream and milk



琴缘 琴音 琴德——记故宫博物院文物鉴定专家郑珉中先生
发布者:斑竹 发布时间:2009-01-19

http://www.chinaguqin.com.cn/onews.asp?id=176
琴缘 琴音 琴德——记故宫博物院文物鉴定专家郑珉中先生

转自第十期《鉴宝》杂志

2003年,中国古琴乐曲被联合国教科文组织列为“人类口头和非物资文化遗产”后,社会上学习古琴的热情大幅升温,但深谙古琴真昧的名家却如凤毛麟角,故宫博物院文物鉴定专家郑珉中先生即为此道高士。小时候,家中悬一幅《红梅图》,所画之梅繁中有简、简中有繁、繁而不乱、简而有理。当时只知此画是郑珉中先生送给父亲的,以为他是一位著名画家,后来父亲告诉我,“郑先生不仅抚琴、修琴,对古琴鉴赏的造诣极深,又工书善画,可是故宫博物院一位博学多艺的专家呢!”
郑珉中先生原籍福建闽侯,寄籍四川华阳,1923年生于北京旧知识分子家庭。求学之时醉心于书画古琴,幼年临习汉魏碑帖。1937至1939年,先后师从北京林彦博、丹阳汪蔼士学绘画,从王杏东、李浴星学古琴。1940年,拜著名古琴家管平湖为师,就学四年,得管氏弹琴、鉴琴、修琴的琴学心得。1947年秋拜溥雪斋为师学习绘画。1946年秋,入北京故宫博物院工作,长期从事文物陈列与研究,曾任陈列组、历代艺术组、法书铭刻组、绘画组、铜器组、金石组、工艺组组长。1953年、1961年他将家藏的瓷器57件、印章20件,捐献给故宫博物院。1982年后,重点从事古琴、古砚的研究,在古琴、书法、绘画领域发表有专题学术论文三十余篇,参加过国内外学术研讨会。郑珉中先生现任国家文物鉴定委员会委员、故宫博物院研究馆员、故宫博物院学术委员会委员,中国博物馆协会会员、中国书法家协会会员、曾任北京古琴研究会副会长,享受政府特殊津贴。
郑珉中先生曾跟随三位老师学琴,第一位是山东诸城派的王杏东,第二位是九襄派的李浴星,那是在1940年,正值沦陷时期,北京古琴会已停止活动,许多琴家去了南方。于是,北京琴友们周日常到管平湖家聚会。李浴星就把郑先生介绍过来,管先生当时就教他弹琴,将散场时对郑先生说:“你要学,我可以教你。但有个条件,从现在起,三个月之内不要弹琴,把原来的全忘掉。这三个月中,每周到这儿来两次看我弹琴,听我教琴,听满三个月,我给你上课。”
三个月后,郑珉中跟管先生学了《静观吟》、《良宵引》、《平沙落雁》。管先生教学有个特点,就是学生弹一支曲子,一直要弹到跟老师的程度差不多了,才另教新曲。管先生非常耐心,手把手地教弹、示范,郑先生这样跟管先生学了四年。管先生对他也给予厚望,希望他能把自己的琴艺继承下来。郑先生对笔者说:“有琴友觉得我弹的琴和管平湖先生一样,这都得益于管先生的造就,因为他教的时候,弹得不像,管先生就不教新曲子,所以直到现在,我弹的《良宵引》和《平沙落雁》两首曲,还与管先生弹得很像呢!”
1946年郑先生父亲去世,同年10月1日,他进入故宫负责建筑,由于生活变故,他家的房子也卖了,郑先生搬进了故宫东连房宿舍(故宫外景山前街)。下班后,同事们都在打牌,他就每天晚饭后,把学琴以来老师教的曲子从头到尾温习一遍,每曲弹三遍,一直坚持到1953年。1947年,管平湖先生与张伯驹、王世襄、溥雪斋、杨葆之和郑珉中等人,创办了“北平琴学社”(1954年改称“北京古琴研究会”)。建国后,南方今虞琴社的查阜西先生组织了北京古琴会,郑先生也是会员。那时,他每天热衷于练琴,学过的古曲都抚得很娴熟,并常常参加各地的演出活动。在中国传统文人眼中,古琴有君子之德,“众器之中,琴德最优”,与“君子比德于玉”的观念一致。王世襄先生的夫人袁荃猷与王迪、郑珉中,皆为古琴大师管平湖的同门弟子。如今,管先生的学生多已仙逝,仅有郑先生一人了。
郑珉中先生和蔼谦逊,拜访他时一直在说,自己只是一名普通的文物工作者,没什么可谈的。先生号“南郭琴叟”,自言不过是琴界中充数一老叟耳!为了全心投入文物研究工作,他曾在相当长的时期内,搁置了古琴演奏。建国后,他被调到文献馆,1951年陈列部成立,郑先生就被从文献馆调到了陈列部。当时历代馆陈列里有唐琴两张、宋琴两张、元琴一张,都是郑先生布展的。唐琴“大圣遗音”,是当年清室善后委员会检查时,发现在墙旮旯儿戳着,屋里漏雨,雨水把琴浸得像个泥壳,岳山也掉了一半,当时定为破琴一张。建国后,王世襄先生在南库发现了它。只在上面擦了一把,就露出漆来了。仔细一看,就是唐琴“大圣遗音”,郑先生就请管平湖先生把这张名琴修好了。包括“大圣遗音”在内,故宫还有唐琴四张,其余各时代古琴四十多张。与琴有关的文物有珍贵的琴谱,明清家具中的琴桌,宋锦的琴套,工艺品的琴模型,另有各式观赏琴铜琴、铁琴、石琴等。
在陈列部时,他曾跟随王世襄、朱家溍二位先生从事文物陈列工作,1952年后负责文物陈列,以及陶瓷馆、绘画馆、历代艺术馆的现场布展及其他陈列工作。1953年中央文化部组织了全国音乐周,郑先生与同道琴友们在各地巡演了两个星期后,回到故宫陈列部上班。这时陈列部主任唐兰先生对他说:“这个琴不放弃不行啊。我们陈列部白天干的都是体力活,只有晚上才有时间学习业务!”郑先生觉得唐先生的话在理,就放弃了晚上弹琴,潜心钻研业务了。从1953年起就不再弹琴,也不去琴社学琴了。文革之后,老一代琴家多已离世,音协组织古琴活动时找到郑先生,当时他弹过的许多曲子也忘了,于是加紧练习,又找回了《平沙落雁》、《良宵引》、《归去来辞》等几个曲子。
听到郑先生说,40年悠悠岁月中,未曾演奏古琴,我不禁感叹:“那多可惜呀!”他笑道:“不可惜呀!2003年,中国的古琴乐曲被联合国教科文组织列为‘人类口头和非物资文化遗产’,古琴乐曲要想继续流传下去,不但要有人演奏,也得有人研究。我搞古代琴的鉴定,研究它们的特点和制作方法,有助于当代斫琴师做出更多好琴,当代的好琴多了,琴家们就能弹奏出韵味地道的古曲,这种古代音乐不就传承下来了嘛?虽说我不再参加演奏,但古琴研究工作也是很有意义的。”
20世纪50年代中期,他曾到中央美术学院美术史系旁听王逊先生 “中国美术史”课程,此时在唐兰先生领导下完成了“历代艺术综合陈列”,建成了“历代艺术馆”,并每年改陈一次。为了改陈工作的顺利开展,郑先生又到中央美术学院旁听金维诺先生讲的“中国美术史”、阎文儒先生的“中国雕塑史”,学习后,他马上将所学知识运用到改陈工作中来,在布展中,注意展示不同历史时代的风格特点,促进了工作创新。这时故宫博物院收购的文物较多,他与其他专家一起鉴定这些东西,辨真伪,定去留,成为他此时日常工作的内容之一。
20世纪70年代,郑珉中先生开始对古琴作进一步的研究。在学习和研究过程中,他对一些传统的鉴定方法提出了质疑,找到了科学的鉴定方法。经过大量艰苦工作之后,郑珉中先生第一次提出用标准器鉴定古琴的方法,并以私人收藏的几张古琴和故宫博物院所藏的四张唐琴为例,写出了文物界第一篇关于鉴定唐琴真伪的文章——《论唐琴的特点及其真伪的问题》。在该文中,郑珉中先生明确指出唐琴具备的特点,列举了标准器,提出唐琴制作的风格、漆质断纹、音韵木质、腹款铭刻及其分期问题;论述了唐代雷氏琴制作的时期及作者,取材及工艺特点,音韵及传世雷琴;并提出旧琴后加腹款、琴款同时伪作与改变形制冒充古琴的几种作伪方法。郑先生指出,“大圣遗音”是中唐标准器;“飞泉”、“独幽”是晚唐标准器;“九霄环佩”是盛唐标准器,带四字腹款者为宫琴。此文的发表,澄清了古琴鉴定上的许多疑点、难点,成为古琴鉴定者的必读教材,同时奠定了郑珉中先生作为古琴鉴定家的权威地位。
郑先生经过多年钻研,总结出一套有效的古琴鉴定方法,推翻了一些以前确认的错误结论。1999年7月,天津国际拍卖公司拍卖过一件流传有绪的北宋年间古琴。这张名为“清角遗音”的古琴,原系古琴收藏家程子容先生旧藏,为程老先生生前自用,仲尼式,长129厘米,肩宽24厘米,尾宽19厘米,粟壳色漆,蛇腹,牛毛断纹,七弦十三玉徽,硬木轸足,背面龙池内题楷书“清角遗音大唐神龙二年制”。程子容是古琴大师管平湖先生弟子,收藏多种古琴。程先生1980年曾向国家捐赠唐代“飞泉”古琴,现藏北京故宫博物院,成为中国唐代四大名琴之一。郑珉中先生将这件“大唐神龙二年制”清角遗音琴,定为宋琴中的传世精品,一级文物。
另一件私人藏宋代 “尧夫”琴,也是经他之手鉴定出来的。“尧夫”即邵雍,北宋哲学家,字尧夫。因隐居苏门山,后人称其为百源先生,卒谥康节。其才学为后世学者所崇仰。此琴虽不能肯定是邵康节先生所制,但琴上款字由他亲笔所书,可知是其监制无疑。如此名贤法物,在传世古琴中极为罕见。此琴仲尼式,通体髹黑漆,光洁如新,琴身发蛇腹断纹,微起剑峰,通长122.5厘米,肩宽19.2厘米,尾宽13.7厘米,琴额饰椭圆形白玉一块,小头、直顶、垂肩,造型优美。琴面圆厚,颇有形如筒瓦之势。琴背开长方形龙池凤沼,龙池略微偏上,俱为枣木原装,周边棱色一致,腹内纳音殊不明显。钢弦,音雄浑,响钟磬之声。 腹款为“庆历元年尧夫制”。琴棋书画,琴为第一,可见古人对琴的钟爱程度,古琴不易保存,留存至今明以上的古琴十分少见。特别是品相完好,又有名士款的古琴,更是凤毛麟角。郑珉中先生以八字描述此琴:旷世名琴,弥足珍贵。
由于找到了科学的鉴定方法,加之近半个世纪文物工作的经历和高超的古琴演奏水平,郑先生对一些古琴文物重新进行了鉴定。他对中日两国文博界早有定论的“金银平文”琴进行了重新鉴定,推翻了该琴原产我国,后流入日本的结论,在两国文博界引起震动。日方此前一直认为,该琴是从我国传至东瀛的,我国文物界也持此种观点。但郑先生认为,该琴是日本人仿制的中国琴,即真正的日本琴。他发表了数千字的长文,阐述自己的观点。此文一出,先是引起了轰动,继而得到学术界的认可。我国虽然因此“少”了一宝,但还原出了“金银平文”琴的真面目,也是中日两国文博界的一项收获。

琴音与琴德
谈到琴音,郑先生说,古琴音声深沉、浑厚、结实,有古朴、苍茫的神韵。琴的音色,根据弹法不同,可分为三大类,即:泛音、散音、按音。这三种琴音,风格迥异,各有千秋。与中国文化的天、地、人相配。所谓泛音,即左手触弦如蜻蜓点水,右手同时弹出之音。“泠、泠”如天籁之音,清脆高远,若隐若现,轻盈活泼,有“浮云柳絮无根蒂”之喻;以七徽为中心,向两侧依次对应升高,约可弹出泛音119个。泛音应用频繁,是古琴演奏的一大特点。散音是左手不按弦,仅以右手弹出“嘣嘣”的空弦音。特点是深沉浑厚,如大地般坚实,有“勇士赴战场”之喻;按音是左手按弦,右手同时弹出之音。特点是婉转抒情,圆润细腻,如人婉婉倾诉衷情,有“呢呢儿女语”之喻。琴的按音最多,加之左手指法丰富细腻,是琴最具表现力之音。
好琴之音具备众多优点,低音浑厚,高音具金石之声,声音松透圆润,没有杂音。琴曲重在直透人心,认定好琴的标准,往往依其音韵,重其表现力,一般对其音量放在第二位。这也表现出古琴对音质要求的严格,审美格调的高雅。因此琴界的先师们,总结出琴的九德之说。即理想的上乘好琴,应具备九条标准:奇(指琴的材质与音色皆轻松脆滑)、古(指琴音淳和淡雅,有金石韵律)、透(指琴发音清亮绵远而不咽塞)、静(指琴音纯净,没有杂音)、润(指琴发声不燥,韵长不绝,清远幽静)、圆(指琴声浑然不散)、清(指琴声如金石,如风中铃铎)、匀(指琴七弦俱清圆,均匀平衡,无三实四虚之病)、芳(指琴弹之愈久而声愈出)。当然,象雷威所斫的“春雷”、“九霄环佩”那样九德兼优之琴,乃罕见珍品。通常来说,能具备诸德的琴就算好琴了。
言及琴门诸派,郑先生说,我从学琴时起,管平湖先生就对我说,不要在外面评论古琴门派的高下,各门各派都有自己的特色和韵味。“三人行,必有吾师焉。择其善者而从之,其不善者而改之。”要多多向别人学习。现在学琴有音乐学院了,用的教材差不多,弹出的韵味也差不多;我们那时候都是投师学琴,不同的老师对古琴的理解不同,教出来的学生就形成了所谓的门派。古琴的门派犹如各地的美味珍馐,苏州喜甜,湖南嗜辣,四川又好麻辣,各地都有好饭馆、好厨师,各有各的风味特点,那么古琴又岂能以门派而论高下呢?”
鉴古观今
郑先生说,古琴鉴定的本事最早还是从管先生那里学来的,那时北京修琴的人很少,如果古琴有了毛病多是找老师去修,所以管先生屋里挂满了琴,郑先生就把它们一个个摘下来看。管先生就指着汪孟舒的唐琴告诉他,这张琴起断纹了,断纹起的峰太高就无法弹了,继而为他讲述唐琴的特点。学琴时,郑先生从老师那里学到不少修古琴、鉴定古琴的知识。那时弹琴的人都希望有个好乐器,能看到唐琴就很羡慕,他就是这样开始学习古琴鉴定的。当时郑先生看到太老师早期写的书中记述,北京的唐琴有两张,一是“九霄环佩”,二是“鹤鸣秋月’。但几年后,又著书称,唐琴并不罕见。所写《藏琴录》中言道:现在“唐琴多矣。”郑先生发现,太老师是根据声音和木料判别的,将声音好、木料古的琴都定成唐琴。不过书中提到的“至德丙申”的“大圣遗音”、“太和丁未”的“独幽”、“贞观二年”的“飞泉”皆鸿宝也。郑先生经过研究,将这三张琴确定为唐琴标准器,但仅以琴音和木料对古琴进行断代的提法,郑先生是不认同的。他的观点是琴音好坏不分年代,古琴的声音有的做出来时就不好,也有的是保存不得法使声音不好。但是音色美的琴,各时代都有。木料也靠不住,五代时就已经用旧木料做琴了。认识事物不能搞绝对化,某些古琴现在定了年代,没准后人又找到了新资料,又有了更确凿的证据就能推翻现在下的结论了,研究学问要有追求真理的精神。
追溯古琴鉴定学之渊源,郑先生说,宋代好古之风兴盛,有牟利之徒因而作伪欺世。随着伪品的出现,鉴定家也产生了。最早鉴别唐琴伪品的实例,是南宋岳坷在李奉宁家鉴定一张名为“冰清”的伪琴,指出其腹款所书唐代年号有避宋帝名讳的问题,依此判定这张琴虽然断纹很古,却是一件伪品。鉴定古琴之学从南宋时已开始,宋元明人也留下许多记述,但直至清初,古琴家才提出“唐圆宋扁”的形制区别。民国初年,杨宗稷著《琴学丛书》,才较深入地阐述了鉴定古琴之学,并刊行于世,为发展古琴鉴定学提供了重要资料。可以说,杨宗稷是古琴鉴定学说的奠基者。
古琴鉴定学除见诸文字者外,旧时在古琴断代上着眼于款字题跋、形制断纹、漆色木质、声音优劣等,且仅凭其中两三点就作定论,这种方法易造成鉴定误差。以李伯仁旧藏的“独幽”琴为例,它有“太和丁未”四字腹款,池下有“玉振”印,尾托上刻李伯仁的题识,记述了它的流传和杨宗稷的题句,明确它是晚唐文宗元年的作品。其造型为罕见的“子期式”,断纹为蛇腹间牛毛纹,栗壳色漆,木质、声音均古。根据这些特点,将其定为唐琴无误,可谓一件鸿宝。再如诗梦斋旧藏“九霄环佩”琴,背有“包含”二字大印,伏羲式造型,小蛇腹断纹,栗壳色漆,木质、声音均古,为唐琴。但不能认为琴背上有黄庭坚、苏轼的题句,就肯定它曾经北宋苏、黄二人鉴赏过,因为这些是后人伪刻的。又如查阜西旧藏的雷威款“幽涧泉”琴,原为大兴冯恕所藏,其子大生曾学琴于黄勉之之门,因而雷公琴幽涧泉遂为当时琴家所称道。琴为仲尼式,较常琴略短,琴面弧度较圆,有“雷威制”三字腹款,通身发波浪纹间梅花断,漆下有葛布地,桐材甚古,发音雄宏松润,为阜西先生藏琴之冠。先生终日弦歌未尝暂离,巡回演出亦携以相随,见者咸称赏此雷公琴不已。先生返京后因琴两侧腰合处开裂,惧其损坏,因付蕉叶山房张莲舫为之修合,修毕原音俱逝,成为一张按音不入木的哑琴。数年后乃赠与溥雪斋先生,遂重新为之剖修,得见腹内项间有墨书四行腹款:“崇祯甲戌夏日,绣谷刘师桐,仿唐雷威制于琴川松弦馆”22字。这张长期被视为雷公琴的“幽涧泉”至此真相大白,它原来是明末制品。可见,仅凭形式、款字、木质、断纹、声音和传说鉴定传世古琴,可能出现失误。郑先生发现这些问题以后,就开始了对古琴进行深入的研究,并找到了用标准器鉴定古琴等科学方法。





A report of a recent guqin concert in Xiamen - as a sample of a common "yaji" concerts by blogger 黄绍坚.
The writer is very critical of what he saw, almost zero good things in the guqin event - from clothing to performance to musicality to almost everything including the dark black shades one of the player wore. If what he reported is true - and I could imagine it could be say 85% true (because most people see 80% of a general aspect of things, and it takes a huge amount of effort to see the rest of the 20% if the event is not all bad - the difference between reporting what you see, and finding something worthy to report about is in the detail 20%. 黄绍坚has a photo of the concert hall - looks nice, wood paneling, container-hardware is good! - what he described is the content-people-software not up to expectation worthy of the name of yaji.

His blog is interesting because its the 80% "public" report of a yaji. Was there any left over 20% creme de la creme in it? This will need work on the reporter side.
But the blogger quoted a poem, it is written in a simple language, but is a very good contemporary Chinese poem. It truly expresses the ambiance of contemporary China, the common dream of youths. His comments about the poetic improvisation of LXT is apt. We might be able to improvise a poem on the fly, but is it a great poem that is another question. :)

Here is the quoted original poem that I like to share with readers : (for LXT's on the fly verse, please read the original blog for that.)

那首表面温暖、内心绝望的原诗:by : 海子

“从明天起,做一个幸福的人/喂马,劈柴,周游世界/从明天起,关心粮食和蔬菜/我有一所房子,面朝大海,春暖花开//从明天起,和每一个亲人通信/告诉他们我的幸福/那幸福的闪电告诉我的/我将告诉每一个人//给每一条河每一座山取一个温暖的名字/陌生人,我也为你祝福/愿你有一个灿烂的前程/愿你有情人终成眷属/愿你在尘世获得幸福/我也愿面朝大海,春暖花开。”

How many times you go shopping - I mean truly shopping - looking for something new, that is viewing without a target in mind and not the picking-up-items off a specific list shopping - and come back with one or more finds? Sometimes none. Thats because you did not find that unexpected dream target, the 20% beyond worthy of purchase.

This is the same with events when a large hugely populated country is in great change and movement. You will see lots of milk and little cream.
We must not be so harsh as we dont know the detail constraints of each event, you need everybody doing a lot first, then you sort afterwards. We will not get the 5%cream without the rest of the 95% of milk.

Same with finding Guqin schools, teachers, lessons, so much available, which one is the right one, suitable and worthy of your time?

All programs must be verified with phone calls, web pages might not be current:

=====
list of guqin learning institutions and teachers
shops url guqin strings pegs
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北京:
中央音乐学院:李祥霆、赵家珍、刘丽
中国音乐学院:吴文光、黄梅
音乐研究所:吴钊

古琴名家:陈长林
中国民族管弦乐学会:杨青
中央歌舞剧团:张铜霞
中央民族乐团:余青欣
东城区文化馆:韩杰
醒心琴韵:杨忠(摩尼天虹)、李园媛
青年琴家:金蔚
丝桐馆:巫娜、贾建军、王亮
钧天坊:王鹏
养和琴馆:陈雷激
琴舍:刘慧、任静
上海:
上海音乐学院:龚一、戴晓莲、林友仁


今虞琴社:戴树红
乐府琴馆:张达、张澴、徐碧
上海仲乐艺校:朱鸿祥
姚门琴家:姚公敬、姚公白
亭艺琴苑:蔡积跃
云雪堂:茅毅
天津:
古琴名家:高仲均

天津音乐学院:李凤云
张子盛古琴艺术中心:张子盛
石家庄:
渤海琴社:高士涛
唐山:
唐山琴人:李天桓
保定:
元真琴社:刘长伟
太原:
唐风琴社:彭建军
济南:
山东省古琴社:高培芬
德音琴社:王笑天
诸城名家:朱子易
青岛:
中道琴社:姜抗生
德州:
德州琴人:庞雨珠
济宁:
济宁琴人:刘治中
郑州:
中州琴会:丁纪元、宋大年
洛阳:
洛阳琴人:曹珑
荥阳:
荥阳琴人:王汇川
南京:
南京艺术学院:成公亮、茅毅
幽兰琴社:马杰
金陵琴社:刘正春
老琴家:吴兆奇
抱一斋:葛勇

苏州:
苏州琴道研究所:汪铎
吴门琴社:裴金宝

扬州:
大音琴堂:张峰
刘少椿琴馆:刘扬
镇江:
梦溪琴社:刘善教
南通:
梅庵传人:王永昌
海门:
海门琴社:倪诗韵
太仓:
娄江琴社:刘永泉
常熟:
虞山琴社:朱唏
无锡:
无锡古琴研究会:吴郡
徐州:
徐州古琴学会:徐永
杭州:
西湖琴社:徐君跃
霞影琴馆:徐晓英
太音琴社:陈成渤
听涛馆:郑云飞
温州:
温州琴人:黄德源
舟山:
人民广播电台:王政
合肥:
安徽省歌舞团:刘赤城
武汉:
武汉音乐学院:丁承运
长沙:
潇湘琴社:熊开华
获麟堂琴馆:陶朔
福州:
劲草琴堂:李禹贤
广州:
广东古琴研究会:谢导秀、陈磊
佛山:
佛山古琴研究会:梁球
深圳:
姚亮古琴工作室:姚亮
香港:
香港德愔琴社:苏思棣、沈兴顺、刘楚华、谢俊仁
香港琴家:唐建垣
澳门:
澳门古琴研究会:梁迪嘉
西安:
陕西省艺术研究所:李明忠

西安音乐学院:李村
终南书院:刘志刚
天水:
天水琴人:胡宝琴
成都:
锦江琴社:曾成伟
成都琴家:何明威
东坡琴社:俞伯孙
梓又琴馆:代茹
昆明:
滇晖琴社:金治中、释永静、段云峰、杨媚
沈阳:
沈阳音乐学院:顾泽长
大连:
松风琴社:姜苇
美国:
北美琴社:王菲

books vcd dvd
--------------------------------------------------------------------------------

《琴学备要》顾梅羹

《古琴教学》(VCD)、《古琴实用教程》李祥霆
《古琴基础教程》(VCD)吴钊
《古琴演奏法》龚一 上海教育出版社
《虞山吴氏琴谱》吴景略、吴文光
《怎样学古琴》许光毅 北京出版社
《琴心直指》杨忠(摩尼天虹)
《琴学门径》(附VCD两张)张子盛
《少儿学古琴》(附DVD一张)杨青
《古琴初级教程》巫娜
《丝桐讲习》(上、下册 附DVD两张)汪铎
《学好古琴》戴晓莲
《古琴初级教材》代茹
《琴度》金蔚
《神奇秘谱乐诠》(附光盘)吴文光

=====
list of Guqin url links.

中国古琴学会

中国古曲网--古琴频道
成公亮古琴音乐网
中国古琴
川大琴社
古琴研究室
广陵雅韵
山东诸城派德音琴社
梅庵琴社
古琴网络--梅庵琴苑
中国古琴网
中国古琴新闻网
北美琴社
华音网--古琴频道
网上古琴音乐会
Tvix.cn 视频分享平台--古琴
古琴天下--徐永古琴网站
中国古琴论坛
同等重要
古琴艺术数位典藏
梅曰强纪念馆
香港武林琴苑
无愿室琴集
丝桐馆
云雪堂
大音琴院
宥堂
全国文化信息资源共享工程-古琴专题库

=====
昆明琴馆
Kunming
=====
Chengdu, ZhengChengWai director
http://www.konglinqinguan.com/在线咨询
电话: 028-80870911 QQ: 769779910 MSN:

Nice Chinese building w courtyard.

文殊院空林琴馆,创立的宗旨,就是希望通过古琴来传承中国传统文化和佛教音乐,并使其推广发扬。
空林琴馆对于所有出家众,无论本院,还是其他各个寺院的,凡是有心接触和学习古琴的僧尼,一律免费。我们唯一的要求,也是一种希望,既然有心报名学习了,请尽量的坚持下去。
Free qin lessons for all nuns and monks regardless of origin and faith, the only requirement is to "be sincere and to continue the qin art and culture"

How to choose a guqin? Detail explanation by LXTin Chinese


Lessons琴馆课程设置(集体课)
课程 学时 人数4-6人 学习目标

初级班12课时
1:古琴基本指法;2:古琴基础理论;3:乐曲:秋风辞等

中级班16课时
1:古琴特殊指法;2:乐曲:酒狂、关山月、良宵引、阳关三叠、普庵咒等

高级班20课时
1:进一步提高乐曲表现力及音乐内涵;2:乐曲:神人畅、平沙落雁、醉渔唱晚、梅花三弄等


咨询电话:028-80870911 咨询Q Q : 769779910 琴馆邮箱:konglinqinguan@163.com
授课地点:成都市文殊院内空林琴馆


Useful info.
Exam requirements for guqin grades.
四川省业余古琴考级标准四川省社会艺术水平音乐考级标准

古琴

二级

技术要求:1、节奏、音准较好,乐曲演奏较流畅。
2、右手摸、挑、勾、剔、掩、掐掌握准确。
(一)、练习曲:以下练习曲任选一首
散音勾挑练习 苏汉兴 曲
按音基础练习(一) 苏汉兴 曲
(二)、以下乐曲任选一首
满江红 苏汉兴 编订
世上只有妈妈好 苏汉兴 编订

三级

技术要求:1、节奏、音准较好,乐曲演奏较流畅。
2、右手摸、挑、勾、剔、掩、掐掌握准确。
(一)、练习曲:以下练习曲任选一首
走音、同音基础练习 苏汉兴 曲
八度练习 苏汉兴 曲
(二)、以下乐曲任选一首
苏武牧羊 苏汉兴 编订
秋风辞 “古琴初阶”
湘江怨 “琴学入门谱”成尧廷演奏
吴宗汉先生传谱

四级

技术要求:1、节奏、音准较好,乐曲演奏较流畅。
2、 《关山月》中轮指颗粒清楚,撮音有力整齐 ;《酒狂》中绰注运用准确。
(一)、练习曲:按音基础练习(二) 苏汉兴 曲
(二)、以下乐曲任选一首
卖花姑娘 苏汉兴 编订
关山月 梅庵琴谱 管平湖演奏
酒狂 神奇秘谱 姚丙炎演奏
良宵引 松弦馆琴谱 詹澄秋演奏

五级

技术要求:1、节奏、音准较好,乐曲演奏较流畅。
2、《桃园》、《阳关三叠》中放合要求整齐,《普庵咒》中撮音有力整齐。
(一)、练习曲:走音练习 苏汉兴 曲
(二)、以下乐曲任选一首
凤阳花鼓 苏汉兴 编订
桃 园 “天闻阁”喻绍泽演奏
阳关三叠 “琴学入门谱”管平湖演奏
普庵咒 喻绍泽演奏

六级

技术要求:1、节奏、音准准确,乐曲有一定的表现力。
2、《神人畅》中泛音清晰、明亮,绰注运用准确,左手吟揉掌握较好。
(一)、练习曲:按音基础练习(二) 苏汉兴 曲
(二)、以下乐曲任选一首
南泥湾 苏汉兴 编订
神人畅 《神奇秘谱》丁承运演奏
鸥鹭忘机 《自远堂琴谱》查埠西演奏
梧叶舞秋风 《琴学心声谱》吴景略演奏

七级

技术要求:1、节奏、音准准确,乐曲有一定的表现力。
2、《醉渔晚唱》中放合要整齐;《平沙落雁》中演奏技巧要运用准确,右手泼、剌有力,左手吟揉掌握较好。
(一)、练习曲:泛音练习 苏汉兴 曲
(二)、以下乐曲任选一首
潜海姑娘 苏汉兴 编订
平沙落雁 《琴学丛书谱》管平湖演奏
忆故人 《今虞琴刊》
醉渔晚唱 李子昭传谱 卫仲乐演奏

八级

技术要求:1、节奏、音准准确,乐曲有较强的表现力。
2、乐曲中演奏技巧运用准确,左手吟揉较好。
(一)、练习曲:左手快速指法练习 苏汉兴 曲
(二)、以下乐曲任选一首
洞庭鱼米乡 苏汉兴 编订
碧涧流泉 《古罔遗谱》杨新伦演奏
龙朔操 《神奇秘谱》陈长林演奏

九级

技术要求:1、节奏、音准准确,乐曲有较强的表现力。
2、《梅花三弄》中高音左手跪指音准掌握较好,三段泛音有明显的强弱对比。
(一)、练习曲:快速节奏练习 苏汉兴 曲
(二)、以下乐曲任选一首
梅花三弄 《琴萧合谱》吴景略演奏
渔樵问答 《琴学入门谱》吴景略演奏

十级

技术要求:1、节奏、音准准确,乐曲有较强的表现力。
2、要求对乐曲的新技法有较好的掌握,《流水》中的大打圆、小打圆技法准确,滚拂有力而连绵不断。
(一)、练习曲:轻快流畅练习 苏汉兴 曲
(二)、以下乐曲任选一首
欸 乃 管平湖打谱
流 水 《天闻阁琴谱》管平湖演奏
注:
(一)每级必须演奏一首练习曲,一首自选乐曲,背谱演奏。
(二)古曲的版本尽量采用全国广泛应用的版本,也允许采用不同流派版本进行测试。

=====
Xiamen
http://www.lrqf.com/
课程表
课程 课时 人数 学习目标 学费
初级班 24 2~4人/班 达到演奏2~3级古琴曲的水平,如:秋风词、普安咒、酒狂等 RMB:800
中级班 24 2~4人/班 在初级班基础上继续进修,达到演奏5~6级古琴曲的水平,如:关山月、平沙落雁等 RMB:1200
单独初级班 24 1人/班 达到演奏2~3级古琴曲的水平,如:秋风词、普安咒、酒狂等 RMB:1200
单独中级班 24 1人/班 在初级班基础上继续进修,达到演奏5~6级古琴曲的水平,如:关山月、平沙落雁等 RMB:1600
单独高级班 24 1人/班 在中级班基础上继续进修,熟练掌握1-2首高级别琴曲的演奏,如:流水、梅花三弄、忆故人等 RMB:1800
大师班 邀请古琴界名师来厦指导,需提前预约 价格另议

解答:

1、课程都是每周上课一次,每次2个课时,1课时45分钟。

2、授课地点:集美授课点

3、老师会根据教学进度发放讲义材料,不必自行准备。


龙人琴坊 版权所有
地址:思明区上李龙虎山路804号101室(文曾书苑) 集美区银江路126号之一1902(广厦花园) 邮编:361000
电话:0592-2513319 13779933829  联系人:张锦冰  信箱:bigbird3610@163.com QQ群:71215167 31071597
ICP备案号:闽ICP备06046760号 技术支持:木鱼工作室
=====
Suzhou
Suzhou Technical University classes of 20 group, under 6 people group, one on one. Special customised lessons possible. No price indicated. Inquiry here

沧浪琴苑
乐器演奏培训班

· 古琴教师—樊建萍
· 艺术顾问—叶名佩
· 艺术顾问—龚 一

=====
hong kong
Teo Kheng Chong 張慶崇page 10, HKAPA

=====
http://tangyixuan.com/tang/index.htm
tea and guqin by famous player Tang Jian Huan.
=====

Wednesday, 24 June 2009

Qin music, culture for all; titles

On the one hand we have Qin music and culture available for all, on the other hand, a lot of musicians I met seem to be quite aware of a "self imposed noblesse".
I found a Qin group on Facebook, the people are really open. Am happy to see them, and just hang around to see what are they up to?

All books of QinPu's downloadable here.

I downloaded the books - just looking at the repertoire, this is enough for anyone to do in many life times!

Please look at the following as a picture, a graphic picture and imagine, each piece say lasts 5mn. How many 5 mns do you have if you string them together, end to end?
And if each 5 mn piece, say takes one day to memorise, (for a very quick, genius grade learner) How much time would it take to learn all of them?

The story goes, some people only need to play one tune in their life time, they play one tune and play it very well. :)

Some people also plays a stringless Qin; no need for strings! Music is in the heart.

I like the list of names of pieces, so here they are:

Think of this as a long cloth of ... graphics, and each graphics sings a 5mn piece.

目錄:第一冊【古逸叢書 碣石調·幽蘭】【白石道人歌曲·古怨】  江炳炎序  古怨  錢希武跋  趙與訔跋  又跋  朱孝臧跋【事林廣記】(椿莊書院本)  琴譜總說  開指黃鶯吟  宮調  商調  角調  徵調  羽調  彈琴要則  整琴要訣【事林廣記】(泰定本)  撫琴要略  開指黃鶯吟  左右手字譜【太古遺音】  群書要語  琴賦  琴制尙象論  琴議篇  三聲論  撫琴論  撫琴勢  制度  指法字譜  琴本制起法象  絲附木論  琴材論  彈琴要則  琴壇十友  琴有所宜  琴有所忌  琴經須知  琴不妄傳  手訣  琴譜總說  斫琴法(下佚)【太音大全集】  題辭 卷一  造琴法度  造絃法  論徽  論絃  制度  撫琴論  撫琴勢  上絃勢  抱琴勢  上絃調絃手法 卷二  歷代琴式 卷三  指跋  辨指  手勢圖 卷四  群書要語  彈琴賦  彈琴法  儀式  琴制尙象論  琴議篇  三聲論  琴本制起法象  絲附木論  琴材論  琴體說  論絃  彈琴要則  琴有所宜  琴有所忌  琴經須知  琴不妄傳 卷五  琴譜總說  指法  手訣  右手指法  左手指法  左手指法譜  字譜  唐陳居士譜訣  外調轉絃  轉絃宗派  名數發端  右手指法  左手指法  琴操辨議  古琴曲調名【神奇秘譜】  朱權序  目錄 卷上 太古神品  遯世操 十段  廣陵散 四十五段  華胥引  古風操  高山  流水  陽春 八段  玄默  招隱  酒狂 四段  獲麟 七段  秋月照茅亭 五段  山中思友人 三段  小胡笳 六段  頤真 卷中 霞外神品  神品宮意  廣寒遊 九段  梅花三弄 十段  神品商意  神品古商意  慨古 三段  忘機 二段  隱德 三段  廣寒秋 三段  天風環佩 三段  神遊六合 十段  長清 九段  短清 八段  白雪 九段  鶴鳴九皋 十段  猗蘭 十一段  神品角意 一段  凌虛吟 三段  列子御風 十段  神品徵意  徵意  山居吟 三段  禹會塗山 十四段  樵歌 十一段  神品羽意  雉朝飛 十四段  烏夜啼 九段 卷下 霞外神品  神品無射意  黃雲秋塞 三段  龍朔操 八段  大胡笳 十八段  大雅 九段  神品碧玉意  八極遊 六段  神品蕤賓意  泛滄浪 三段  瀟湘水雲 十段  神品凄涼意  神品楚商意  澤畔吟 四段  離騷 十八段  神品商角意  神化引 三段  莊周夢蝶 八段  楚歌 八段  神品姑洗意  飛鳴吟 三段  秋鴻 三十六段【五聲琴譜】  懶僊序  懶僊五聲正變琴訣  春雨 十一段  汶陽 八段  僊山月 九段  鴻飛 九段  盟鷗 十二段【浙音釋字琴譜】 卷上  列子殘譜 存八九十段  徵意  關睢 九段  南熏歌 六段  天臺引殘譜 存五到十一段  禹會塗山 十二段  思舜 九段  師賢 八段  山居吟 四段  蕤賓意  漁歌調  漁歌 十八段  瀟湘水雲 十段  泛滄浪 三段  商角意  楚歌 八段  神化引 三段  夢蝶 八段  羽意  烏夜啼  雉朝飛  姑洗意  飛鳴吟  秋鴻 三十六段  黃鐘意  龍翔操 八段  大雅 九段  秋月照茅亭 五段  山中思友人 三段  小胡笳 六段  頤真 四段  黃雲秋塞 三段  大胡笳 十八段  凄涼意  華胥引 三段  離騷 十八段  澤畔吟 四段  屈原問渡  陽關三疊殘譜 存一至八段【謝林太古遺音】  張鵬序  右手指法  左手指法 卷一  南風歌  思親操  湘妃怨  岐山操  拘幽操  關睢曲  文王操  克商操  文王曲  越裳操  履霜操  鶴鳴九皋 卷二  漪蘭操  將歸操  龜山操  亞聖操  殘形操  別鵠操  雉朝飛  楚歌  蔡氏五弄  八公操  昭君怨  黃鐘意 卷三  歸去來辭  梅花曲 十段  思歸引  風入松歌  聽琴賦 五段  伯牙吊子期  陽關曲  春江曲  雙清傳  正氣歌  古秋風  新增客窗夜話  太古遺賦  何莊跋【黃士達太古遺音】  黃士達自序  前赤壁賦  后赤壁賦【新刊發明琴譜】  黃龍山序  上絃勢  用指法  上絃手法  調絃手法  手勢圖  右手訣法  左手訣法  思賢操 七段  瀟湘水雲 十段  秋江晚釣 八段  莊周夢蝶 八段  歸去辭 五段  白雪 九段  屈原問渡 八段  神遊六合 十段  猿鶴雙清 十二段  樵歌 十一段  昭君怨 八段  關睢 八段  禹會塗山 十四段  楚歌 八段  大雅 九段  客窗夜話 九段  烏夜啼 九段  陽關 八段  梅花三弄 十段  文王思舜 八段  猗蘭 十一段  盛德頌 八段  陽關三疊 三段  十八學士登瀛洲 五段【梧岡琴譜】  陳經序  勾琴總字母  右手指法  左手指法  神品宮意  梅花引  陽春  清都引  神品古商意  奇品商意  亞聖操  白雪  長清  猗蘭  鶴鳴九皋  猿鶴雙清  歸去來辭  夷曠吟  角意  御風行  商角意  莊周夢蝶  神品徵意  文王操  關睢  禹會塗山  樵歌  鶴舞洞天  神品羽意  雉朝飛  佩蘭  烏夜啼  復古調  南風暢  黃鐘意  昭君引  神品凄涼意  楚歌  屈原問渡  瀟湘水雲  妙品姑洗意  飛鳴吟  秋鴻  黃獻后序第二冊【風宣玄品】  朱厚爝序  張鯤序 卷一  指跋  辨指  指法  儀式  造琴法  造絃法  論徽  論絃  鼓琴訓論  鼓琴要則  右手指法  左手指法  琴調徽法  琴制  撫琴勢  撫琴論  上絃法  抱琴勢  彈琴家數  歷代琴式  手勢圖 卷二  神品宮意  陽春 十五段  圯橋進履 三段  廣寒遊 八段  酒狂 五段  梅花三弄 十段  一撒金 二段  古風操  高山  流水  玄默  招隱  蔡氏五弄 五段  思親操  獲麟 六段 卷三  神品商意  客窗夜話 九段  思賢操 八段  瀛洲 六段  雪窗夜話 十二段 卷四  猿鶴雙清 十段  長清 九段  短清 八段  神遊六合 十段  忘機 二段  隱德 三段  文君操  將歸操  越裳操  履霜操  陋室銘  搗衣曲  歸耕  聽琴賦 五段  伯牙吊子期  正氣歌  風入松  八公操  南風歌  大明一統  湘妃怨  醉翁吟 卷五  風雷引 八段  猗蘭 十一段  古交行 十段  天風環珮 三段  廣寒遊 三段  春江 三段  概古 三段  歸去來辭 五段  白雪 九段  鶴鳴九皋 九段  廣陵散 四十五段 卷六  神品角意  列子御風 十段  凌虛吟 三段  神品商角意  神化引 三段  莊周夢蝶 八段  李陵思漢 八段  遯世操 十段 卷七  神品徵意  樵歌 十二段  文王思舜 十一段  雁過衡陽 十二段  山居吟 三段  渭濱吟 三段  禹會塗山 十四段  關睢 十段  前赤壁賦  后赤壁賦 卷八  神品羽意  佩蘭 十六段  雉朝飛 十四段  烏夜啼 九段  神品凄涼意  離騷 十八段  楚歌 八段  屈原問渡 八段  澤畔吟 四段  華胥引 卷九  神品姑洗意  飛鳴吟 三段  秋鴻 卅六段  神品蕤賓意  陽關 九段  瀟湘水雲 十段  泛滄浪 三段  寄情操 十二段  漁歌 十八段 卷十  神品無射意  昭君出塞 七段  大雅 九段  大胡笳 十八段  小胡笳 六段  黃雲秋塞 三段  山中思友人 三段  頤真  秋月照茅亭 五段  神品碧玉意  八極遊 六段【琴譜正傳】  何遷序  上絃勢  抱琴勢  手勢圖  勾琴總字母  精考詳明字母  彈琴須知  啟蒙  彈琴法  論余 卷一  梅花文  陽春文  孤芳吟 三段  梅花三弄 十二段  神品宮意  梅花引 十段  陽春 十三段  鶴鳴九皋 十段  猿鶴雙清 九段 卷二  文君操文  南風歌文  搗衣曲文  正氣歌文  履霜操文  陋室銘文  湘江怨文  鶴鳴九皋 九段  歸去來辭 六段  夷曠吟 三段  角意  御風行 八段  商角意  莊周夢蝶  徵意  文王操 十段  石上流泉 六段  清都引 十段  長清 九段  猗蘭 十一段  神品徵意  文王操 十段 卷三  昭君文  豳風歌 二十段  神品古商意  奇品商意  亞聖操 七段  白雪  鶴舞洞天 三段  神品羽意  雉朝飛 十三段  佩蘭 十三段  烏夜啼 九段  復古調  南風暢 八段  黃鐘意  昭君引 八段 卷四  陽關文  風入松文  神品凄涼意  楚歌 九段  吊屈原 十段  屈原問渡 六段  神品蕤賓意  瀟湘水雲 十段  斷金吟 三段  古交行 十三段  妙品清商意  神品姑洗意  飛鳴吟 三段  秋鴻 卅六段  客窗夜話 八話 卷五  樵歌文  清虛吟 三段  廣寒遊 十段  關睢 七段  澤畔吟 四段  離騷 十八段  九疑吟 三段  瀟湘水雲 十段  關睢 八段  禹會塗山 十二段  樵歌 十一段  漁歌 十段 卷六  雪窗夜話文  芻牧吟 四段  牧歌 十八段  風雷引 八段  春江 八段  盡善吟 二段  簫韶九成鳳凰來儀 二十三段  清夜聞鐘 七段  扣角歌 八段  秋風 十二段  篝燈吟 三段  雪窗夜話 十段  黃獻后序第三冊【西麓堂琴統】  唐皋序 卷一  敘論  追古  十則  中聲  琴準異同  三聲  原音  訂定五音調  五音審辨  七音之辨 卷二  十二律調  外篇  七字法  律呂圖 卷三  外篇  五聲正變  節奏要訣  樂書紀  琴經須知 卷四  琴本制起法象  制度  琴制所象  論徽  整琴要訣  整絃奧法  抱琴法  上絃勢  上絃手法  論絃  釋絃  調絃手勢  調絃法  撫琴論  撫琴勢  撫琴訣  轉絃宗派  五士操圖  上絃例  琴壇十友 卷五  用指譜法  左手用指圖  左手字譜例 佚  右手字譜例 佚  左、右手字譜例 佚  字譜 佚  右手指法釋譜 佚  左手指法釋譜 佚  左、右手朝揖釋譜 佚  品絃訣說譜 佚  泛聲品絃 佚  按聲品絃 佚 卷六  調絃品  宮意  修褉吟 三段  陽春 十段  康衢謠 七段  沖和吟 三段  谷口引 十三段  圯橋進履 七段  梅花三弄 十段 卷七  達觀吟 三段  廣寒遊 十一段  流觴 八段  高山 八段  流水 十段  幽蘭 十段 卷八  商意  天風環珮 三段  騎氣 九段  白雪 九段  飛電吟 三段  風雷 八段  隱德 三段  春江 十段  鶴鳴九皋 九段 卷九  商意  膠漆吟 三段  古交行 十二段  扊扅歌 六段  思賢操 五段  亞聖操 七段  憶顏回 七段  懷古吟 三段  猗蘭 十一段  杏壇 十一段 卷十  鷗鷺忘機 三段  長清 十段  短清 十段  長側 十段  短側 九段  清夜吟 三段  江月白 九段  雪窗夜話 十段 卷十一  秋風 十段  猿鶴雙清 十段  春江晚眺 六段  瀛洲 六段  一葉知秋 八段  梅梢月 十段  商角意  籧栩吟 三段  莊周夢蝶 卷十二  角意  蒙棘引 三段  蒼梧怨 十二段  掇蜂吟 三段  履霜操 十段  凌虛吟 三段  列子御風 十段 卷十三  擊壤歌 八段  襄陵操 八段  子猷訪戴 九段  僊山月 九段  烈女引 五段  采真遊 七段  角徵羽意  南風暢 卷十四  徵意  卿雲歌 五段  會同引 三段  觀光 十四段  關睢 八段  渭濱吟 三段  文王思士 十段  思親 五段  石上流泉 八段  洞庭秋思 三段  醉漁唱晚 十段 卷十五  徵意  山居吟 三段  靜極吟 四段  漁歌 十八段  龍歸晚洞 九段  霜夜鴻 四段  雁過衡陽 十一段 卷十六  羽意  玉樹臨風 三段  烏夜啼 十一段  春曉吟 三段  雉朝飛 十二段  鶴舞洞天 三段  佩蘭 十四段 卷十七  羽意  謀父匡君 九段  雞鳴度關 八段  瑤天笙鶴 九段  春思 十二段  伯牙吊子期 三段 卷十八  黃鐘意  李陵思漢 九段  太簇意  定慧引 三段  遯世操 十二段  凌雲吟 三段  八極遊 六段  姑洗意  飛鳴吟 三段  秋鴻 三十六段 卷十九  蕤賓意  泛滄浪 三段  瀟湘水雲 十一段  欸乃 十六段  處泰吟 三段  遠遊 八段 卷二十  無射意  黃雲秋塞 三段  胡笳  大雅  憶關山 三段  漢宮秋 八段  大呂意  崆峒引 三段  崆峒問道 十段  夾鐘意  越裳吟 三段  越裳操 十段 卷二十一  仲呂意  逍遥吟 三段  逍遥遊 九段  林钟意  神人畅 八段  岐山操 七段  南吕意  谨微 十段  應鐘意  漢節操 十段  昭君怨 九段 卷二十二  慢商意  廣陵散 四十四段  又廣陵散譜 四十五段 卷二十三  凄涼意  澤畔吟 四段  又澤畔吟 三段  離騷 二十段  屈原問渡 九段  宋玉悲秋 八段  楚歌 十段 卷二十四  復古吟  歷山吟 三段  虞舜思親 九段  無媒意  臨邛引 三段  鳳求凰 十段  孤館遇神 十二段  碧玉意  秋夜吟 三段  秋宵步月 八段  玉女意  僊珮迎風 四段 卷二十五  泉鳴意  鳴鳳吟  鳳翔千仞 九段  孤竹君 十段  間絃意  明君 十二段  清羽意  桃源春曉 七段  忘憂 五段【歩虛僊琴譜】  徵意  渭濱吟  文王  關睢  靜極吟  漁歌  山居吟  樵歌  會同吟  塗山  羽意  鶴舞洞天  佩蘭  雉朝飛  烏夜啼【杏莊太音補遺】  齊嵩序  杏莊小象  王偉題杏莊道人小像贊  金白贊  趙應春贊  太音紀原  太音體制諸稱徽絃屬義  七絃考  字譜源流  勾琴總字母  曹氏減字法  彈琴啟蒙  彈琴須知  操縵引  徐門正傳  杏莊律呂約義  施良臣書 卷一  宮意考  沖和吟 三段  陽春 十三段  孤芳吟 三段  梅花三弄 十段  嘉遁吟 三段  谷口引 十三段  清虛吟 三段  廣寒遊 十段  商意考  思歸吟 三段  猗蘭 十一段  資益吟 三段  風雷引 八段  滕六吟 三段  白雪 九段  君子唫 三段  猿鶴雙清 九段  歸去來辭 六段  春江 八段 卷二  斷金吟 三段  古交行 十三段  昭昭吟 三段  長清 九段  短清 八段  顏回 七段 譜目作亞聖  鶴鳴九皋 十段  角意考  凌虛吟 三段  列子御風 八段  商角意  神化吟 三段  莊周夢蝶 八段  徵意考  會同吟 三段  禹會塗山 十二段  純一吟 三段  文王 八段  霜夜吟 三段  雁過衡陽 十一段  風波吟 三段  醉漁唱晚 十段  湘江吟 三段  漁歌 十段  山居吟 三段  樵歌 十一段  關睢 八段 卷三  羽意考  感懷吟 三段  雉朝飛 十三段  親善吟 三段  佩蘭 十三段  物感吟 三段  烏夜啼 九段  復古考意  南風暢 八段  黃鐘意考  秋塞吟 三段  凄涼意考  楚歌 九段  澤畔吟 四段  離騷 十八段  屈原問渡 六段  蕤賓意考  樂極吟  欸乃 十八段  九疑吟  瀟湘水雲 十段  姑洗調考  飛鳴吟 三段  秋鴻 三十六段  方夢陽跋  杏莊老人賦【杏莊太音續譜】  吳炳序  琴曲 佚4、5頁  盡善吟殘譜 全佚(與琴譜正傳六卷收曲同)  簫韶九成鳳凰來儀殘譜 佚(與琴譜正傳六卷收曲同)  耕莘吟 三段  耕歌 二十段  芻牧吟 四段  牧歌 十八段  浮海吟 三段  泣麟悲風 七段  懷佳人吟 二段  秋風 十二段  憂時吟 三段  扣角歌 八段  篝燈吟 三段  雪窗夜話 十段  飛瓊吟 二段  石上流泉 六段  慨古吟  漁樵問答 六段  沉壁吟 二段  江月白 十段  九畹吟 三段  幽蘭 八段  知己吟 三段  龍歸晚洞 九段  正器吟 二段  玉斗 八段  幽懷吟  蔡氏五弄 五段  龍馬吟  石床枕易 八段  高明吟  天文 九段  博厚吟  地理 八段  三才吟  人物 八段  萬象吟  物類 十段  遊于禮跋  陸燁跋第四冊【太音傳習】  楊懋序  朱齊序  操縵引 卷一  琴體說  彈琴論  上絃法  辨指  審音  正調品絃  外調轉絃  抱琴法  字譜源流  右手指法  左手指法  彈琴啟蒙  五音正調  五聲考  諸操目錄 卷二  宮意殘譜  沖和吟 三段  陽春 十四段 原注:即龍門挑浪引  陽春又譜 八段  孤芳吟 三段  梅花三弄 十段 亦名梅花引、玉妃引  資益吟 三段  風雷引 十段  嘉遁吟 三段  谷口引 十三段  清虛吟 三段  廣寒遊 九段  圯橋進履 七段  酒狂 四段  高山  流水 卷三  商意  懷古吟  猗蘭 十一段  滕六吟 三段  白雪 九段  君子吟 三段  猿鶴雙清 十二段  斷金吟 三段  古交行 十段  昭昭行 十段  長清 九段  短清 八段  春江 七段  秋風 十二段  客窗夜話 九段  思賢操 七段  歸去來辭 五段  湘妃怨 四段  雪窗 十四段  鶴鳴九皋 十段 卷四  角意  凌虛吟 三段  列子御風 九段  商角意  神化吟 三段  莊周夢蝶  徵意  會同吟 三段  禹會塗山 十三段  純一吟 三段  文王思舜 十段  山居吟 三段  樵歌 十二段  湘江怨 三段  漁歌 十二段  霜夜吟 三段  雁過衡陽 十二段  關睢 十段  羽意  感懷吟  雉朝飛 十四段  親善吟 三段  佩蘭 十四段  物感吟 三段  烏夜啼 九段 卷五  黃鐘意  秋塞吟 三段  龍朔操 八段  復古調  南風暢 八段  姑洗意  飛鳴吟 三段  秋鴻 三十六段 殘  凄涼意  凄涼意又譜  澤畔吟 四段 殘  離騷 十八段 殘  楚歌 九段  屈原問渡 八段  蕤賓意  樂極吟  欸乃歌 十八段  九疑吟 三段 原注:亦名泛滄浪  瀟湘水雲 下段  葉筌跋  李仁后序【五音琴譜】  沈藩保定王德軒序  勾琴總字母 卷上  神品宮意  陽春 十六段  梅花三弄 十四段  圯橋進履 六段  神品商意  思賢操 七段  客窗夜話 七段  靜觀吟 三段  古交行 十一段  懷古吟 三段  猗蘭操 十段  天風環珮 三段  風雷引 九段  猿鶴雙清 十四段  歸去來辭 五段  漁樵問答 六段  白雪 九段  水僊曲 七段 卷下  神品角意  凌虛吟 三段  列子御風 十一段  神品徵意  渭濱吟 三段  關睢 十段  山居吟 五段  樵歌 十一段  襄陽歌 三段  神品羽意  瑞龍吟 五段  雉朝飛 十四段  烏夜啼 八段  莊周夢蝶 九段  欸乃歌 十八段  陽關 八段  離騷 十八段  飛鳴吟 四段【重修真傳琴譜】  楊表正序  無名氏序  劉御序  自贊  默莊贊  養望贊 卷一  琴操目錄  聖賢名錄  從授真傳琴友姓氏  琴學須知  彈琴雜說  十二律呂論  律呂十二配合卦氣隔八相生論  五聲五音論  樂器源流論  樂記篇音論 卷二  學記篇論  立教集論  樂不妄傳論  琴有七要論  琴有九德論  琴有所忌論有八  琴有所宜論  五士操論  絲木合論  擇琴材良論  絃中不合文音論  鼓琴訣則論  琴制起法論  琴面諸稱  琴背諸稱  琴彈發指要論  辨琴聲音輕重論  素琴論  霹靂琴論  琴焦尾論  百衲琴論  一絃琴論  七絃論  鼓琴要則 十一則  彈琴啟蒙  琴須知統論  彈琴指法  手勢力;產  琴學起法論  說上琴要法  說定絃要法  調絃入弄  泛音調弄 卷三  宮意 一段  遇僊吟 五段  陽春 十五段  梅花三弄 十二段  浩浩歌 三段  金陵吊古 九段  高山 四段  流水 八段  招隱 三段  忘機 二段  隱德 三段 卷四  酒狂 六段  前出師表 十段  后后師表 十段  進履 七段  陳情表 五段  牡丹賦 一段  陋室銘  大學章句 四段  廣寒遊 九段  玄默 五段  獲麟 六段  醒心集 五段 卷五  商意  思賢操 七段  客窗夜話 十段  秋江晚釣 八段  歸去辭 六段  漁樵問答 九段  前赤壁賦 八段  后赤壁賦 六段  猿鶴雙清 十二段  春江曲  風入松  相思曲  履霜操 卷六  商意  滕王閣序 十四段  雪窗 十段  白雪 九段  對月吟 十二段  猗蘭 十一段  湘妃怨 四段  伯牙吊子期  聖德頌 八段  岐山操  文王操  拘幽操  越裳操  思親操  將歸操  龜山操  杏壇操  尅商操  八公操  殘形操  思歸引  別鵠 卷七  角意  列子御風 九段  凌虛吟 三段  神化引 三段  夢蝶 八段  商角意  楚歌 十二段  慢角意  蘇武思君 九段  遯世操 十操  八極遊 六段  華胥引 三段  大雅 九段  頤真 四段 卷八  徵意  關睢 十段  禹會塗山 十二段  樵歌 十一段  南熏歌 二段  山居吟 四段  思舜 九段  師賢 八段  天臺引 十一段 卷九  羽意  雉朝飛 十四段  烏夜啼 九段  鳳求凰  蕤賓意  漁歌調  漁歌 十八段  秋鴻 三十六段 卷十  黃鐘意  昭君怨 八段  小胡笳 六段  黃雲秋塞 三段  秋月照茅亭 五段  山中思故人 三段  凄涼意  屈原問渡 八段  秋江送別 九段  陽關三疊 三段  離騷 十八段  澤畔吟 四段  清江引  陳書箴跋  姚士畏跋第五冊【琴書大全】  肖大享序  蔣克謙序 卷一 序琴 卷二 聲律上 卷三 聲律下 卷四 琴制 卷五 歷代琴式 卷六 琴徽 卷七 琴絃 卷八 指法 卷九 指法手勢圖 卷十 彈琴 卷十一 曲調上 卷十二 曲調下 卷十三 曲調拾遺 卷十四 聖賢上 卷十五 聖賢下 卷十六 記載 卷十七 雜錄 卷十八 琴文 卷十九 詩上 卷二十 詩下 卷二十一 附言  譜目  神品宮意 不分段  陽春 十六段  梅花三弄 十三段  圯橋進履 三段  清都引 十段 亦作廣寒遊  沖虛吟 三段 亦作步蟾宮  讀書吟 二段  神品商意  懷古吟 三段  靜觀音 三段  漁樵問答 六段  猿鶴雙清 十四段  懷水僊 九段  漪蘭 十三段  天風環珮 三段  風雷引 九段  牧歌 十一段  白雪 九段  長清 九段  鶴嗚九皋 十段  隱德 四段  飛珮吟 不分段  亞聖操 五段  陋室銘  客窗夜話  思賢操  二妃思舜  鶴猿祝壽  醉翁吟  詩  神品角意  列子御風  莊周夢蝶  凌虛吟  扣角吟 卷二十二  神品徵意  關睢  樵歌  禹會塗山  雁過衡陽  山居吟  文王操  洞庭秋思  神品羽意  水龍吟  佩蘭  雉朝飛  鶴舞洞天  烏夜啼 九段  春曉吟 三段  妙品黃鐘意  大雅 十段  南風暢 八段  昭君引 八段  神品蕤賓意  漁歌  瀟湘水雲 十段  消憂吟 四段  妙品清商意  神品姑洗意  飛鳴吟  秋鴻 卅六段  趙鵬程跋第六冊【玉梧琴譜】 卷上  彈琴總規  勾琴總字母  神品宮意  沖和吟 三段  陽春 十三段  高山 四段  流水 八段  梅花三弄 十段  神品商意  懷古吟 三段  白雪 九段  猗蘭 十一段  古交行 十一段  風雷引 八段  漁樵問答 六段  猿鶴雙清 九段  清夜聞鐘 八段 卷中  客窗夜話 十段  思賢操 五段  神品角意  凌虛吟  列子御風  神品徵意  山居吟  樵歌  禹會塗山  關睢  神品羽意  水龍吟  佩蘭  雉朝飛  漢宮秋  神品商角意  神化吟  莊周夢蝶 卷下  神品黃鐘意  朝會吟  大雅  神品蕤賓意  滄浪吟  欵乃歌  瀟湘水雲  赤壁賦  神品慢宮意  獲麟操  神品復古意  南風暢  神品凄涼意  澤畔吟  離騷  神品姑洗意  飛鳴吟  大明一統【三教同聲】  明德引  孔聖經  釋談章  清靜經 殘佚末尾【文會堂琴譜】 卷一  制度總規第一  取材第二  打絃第三  修整第四  收藏第五  博考第六 卷二  歷代琴式第七  鼓琴事法第八  宜忌雜數第九  鼓琴樂事第十  音律概論第十一  調名第十二 卷三  曲名第十三  指法字譜第十四  手勢第十五  聖賢名錄第十六 卷四  琴操第十七  調絃入弄  泛音入弄  五徽調弄  宮意  梅花  圯橋進履  尋芳吟  陽春  水龍吟  清夜聞鐘  開指魯商意  商意  顏回 思賢操  鳳求凰  湘妃怨  客窗夜話  歸去來辭  前赤壁賦  瀛洲  懷古吟  懷水僊  漁樵問答  春江  雙鶴聽泉  雙清  白雪  桃源吟  風雷引  古交行  雪窗夜話  猗蘭 卷五  角意  蒼梧引  列子  扣角歌  莊周夢蝶  徵意  關睢  耕莘吟  耕歌  山居吟  樵歌  會賓吟  禹會塗山  石上流泉  羽意  鶴舞洞天  雉朝飛  漢宮秋  佩蘭  烏夜啼 卷六  商角意  牧歌  蕤賓意  陽關  昭君怨  漁歌  瀟湘水雲  黃鐘意  胡笳十八拍  凄涼意  屈原  楚歌  離騷  清商意  飛鳴吟  秋鴻  復古意  南風暢  全菴附赘第十八【蔵春塢琴譜】  彈琴總規  勾琴總字母 卷一  神品宮意  和氣吟  洞天春曉  幽蘭  神品宮意  沖和吟  陽春  高山  流水  梅花三弄 卷二  神品商意  懷古吟  白雪  猗蘭  長清  牧歌  古交行  風雷引  漁樵問答  猿鶴雙清  清夜聞鐘  天風環珮  客窗夜話  思賢操 卷三  神品角意  凌虛吟  列子御風  溪山秋月  神品徵意  山居吟  樵歌  簫韶九成鳳凰來儀  耕歌 卷四  漁歌  雁過衡陽  禹會塗山 亦名上國觀光  關睢  神品羽意  水龍吟  佩蘭  雉朝飛 卷五  鳳翔霄漢 羽意神品  漢宮秋  神品商角意  神化吟  莊周夢蝶  神品黃鐘意  朝會吟  大雅  神品蕤賓意  滄浪吟  欵乃歌  瀟湘水雲  赤壁賦 卷六  神品慢宮商意  獲麟操  神品慢角意  神遊八極  神品復古意  南風暢  神品凄涼意  澤畔吟  離騷  神品姑洗意  飛鳴吟  秋鴻【三才圖會續集】  人事目錄  鼓琴圖  五指名圖  手勢圖  辨指  八法  勾琴總字母  左右手指法  宮意  商意  角意  商角意  徵意  羽意第七冊【綠綺新聲】  南山像  五指名圖  指法要論  琴學須知  彈琴啟蒙  十三徽律論  右手指法  左手指法  宮意  商意  角意  徵意  羽意  思賢操  客窗夜話  梅花三弄  猿鶴雙清  胡笳十八拍  欸乃歌  陌上桑  四思歌【真傳正宗琴譜】  琴序  通俗小說 太古遺音  陽春  酒狂  商意考  復聖操  思賢操  客窗夜話  聽琴吟  歸去來辭  白雪  猿鶴雙清  秋聲賦  漁樵問答  秋江晚釣  角意考  列子御風  樵歌  山居吟  禹會塗山  鳳求凰  雉朝飛  鶴舞洞天  漢宮秋月  蘇武思君  前赤壁賦  搗衣  樂極吟  漁歌  陽關操  陽關三疊  楚歌  屈原問渡 伯牙心法  高山  流水  沖和吟  箕山秋月  神化引  莊周夢蝶  塞上鴻 太古遺音 又本  琴說原宗  楊掄像 左右手指諱號 宮意考 伯牙心法 又本  續琴序  梅花三弄  墨子悲歌  湘妃怨  釋談章  客窗新語  靜觀吟  蒼梧引  閨怨操  陋室銘  耕歌  渭濱吟  關睢  石上流泉  水龍吟  漢宮秋月  滄海龍吟  古神化引  八極遊  大雅  離騷  清商調  飛鳴吟【陽春堂琴經】 卷一 文集  琴學淵源 卷二 操縵指訣 卷三 字譜源流 卷四 博古名操 卷五 行集  歷代名琴 卷六 古琴辨 卷七 斫法 卷八 琴社 卷九 忠集  大雅嗣音 卷十 琴雋 卷十一 信集  琴窗雜記 卷十二 格古要論 卷十三 煞風景 卷十四 瑯嬛記【陽春堂琴譜】 卷一  琴學須知  上琴要法  對琴法  掛琴法  定絃要法  正調品絃  外調轉絃  操縵引  抱琴式  右手指法  左手指法  兩手統說  兩手取勢  彈琴要說 卷二  宮意  洞天春曉  尋芳吟  陽春  圯橋進履  廣寒遊  商意  思賢操  白雪  猗蘭  廣寒秋  懷水僊  懷古吟 卷三  角意  溪山秋月  列子御風  徵意  禹山塗會  關睢  樵歌  山居吟  羽意  雉朝飛  漢宮秋  佩蘭  渭賓吟 卷四  商角意  墨子悲歌  神化引  姑洗意  飛鳴吟  秋鴻  蕤賓意  樂極吟  漁歌  瀟湘水雲  黃鐘意  朝會吟  大雅  凄涼意  楚歌  屈原問渡  續集 琴譜啟蒙  刪選捷要字母  思賢操  滕王閣  歸去來辭  客窗夜話  漁樵問答  湘妃怨  鳳求凰  陋室銘  釋談章  陽關三疊  附:昭君怨第八冊【琴適】  劉朝箴序 卷一  彈琴雜論 卷二  宮意  商意  角意  徵意  羽意  思賢操  客窗夜話  梅花三弄 卷三  猿鶴雙清  欵乃歌 卷四  胡笳十八拍 首頁佚  陌上桑  四思歌  手勢  歷代琴式【松絃館琴譜】  薛志學序  嚴澂自序  觀譜法  宫  洞天春曉  陽春  修禊吟  商  古交行  風雷引  桃源吟  清夜吟  中秋月  秋江夜泊  膠漆吟  靜觀吟  角  溪山秋月  蒼梧怨  列子御風  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凌虛吟  碧天秋  靜夜談玄  復聖操  漢宮秋月  孤猿嘯月  色空訣  大雅  神化引  離騷  欸乃  雉朝飛  搗衣  瀟湘水雲  春江送別【古音正宗】  彈琴須知  上古琴賦  上古琴論  五音統論  禮樂序  撫琴轉絃歌  手勢圖  勾琴總字母  琴式  中和吟  宗雅操  高山 六段  流水 八段  廣寒遊  陽春  梅花  鷗鷺忘機  沖和吟  圯橋進履  漁樵問答  秋江夜泊  風雷引  清夜聞鐘  扣角歌  風入松  亞聖操  懷古吟  靜觀吟  墨子悲歌  釋談章  陽關三疊  蘇武思君  雁落平沙  列子御風  養生操  碧天秋思  蒼梧引  子猷訪戴  禹會塗山  悲秋  樵歌  關睢  山居吟  雉朝飛  滄海龍吟  鸞鳳吟  漢宮秋  大雅  秋鴻  搗衣曲  羽化登僊  岳陽三醉  莊周夢蝶  挾僊遊  獲麟  瀟湘水雲  大胡笳  廣陵真趣【中洲草堂遺集】節錄  楚吟行  況操  韓山操  彈琴箕山秋月歌  崇禎皇帝御琴歌  雨中彈琴作  大歷琴  長興在大雄寺聽吳促徵彈琴  江上彈琴得女道士韓玉靈書卻寄  七夕雨集彈琴同朱子茂子祐子習  琴操水東遊【義軒琴經】  字訣  雜說  宮意  梅花引  圯橋進履  陽春  客窗夜話  天風環珮  懷古吟  風雷引  牧歌  漁樵問答  靜觀吟  角意  列子御風  徵意  關睢  塗山  山居吟  雁過衡陽  渭濱吟  羽意  漢宮秋  水龍吟  雉朝飛  商角意  夢蝶  黃鐘意  大雅  蕤賓意  瀟湘水雲  清商意  秋聲【陶氏琴譜】  凡例  指法  箕山操  忘機引  思賢操  漁樵問答  秋閨怨  悉曇章  醉翁吟  猗蘭操  陋室銘第十冊【徽言秘旨】【徽言秘旨訂】【大還閣琴譜】第十一冊【愧庵琴譜】  胡堯佐序  方兆曾敘  五音圓圖  七絃十三徽百五音圖說  琴論  琴賦  琴賦圖  洞天春曉  高山  冷玉詞  白雪  墨子悲絲  懷水僊  靜觀吟  箕山秋月  蒼梧怨  九嶷引  神化相  樵歌  雁過衡陽  漁歌  山居吟  佩蘭  漢宮秋  雉朝飛  雁落平沙  鷗鷺忘機  玉樹臨風  瀟湘水雲【臣卉堂琴譜】  周遷琴敘  太音紀法  彈琴須知  琴有七要  鄭方琴譜敘言  陸端師琴敘  聖經  風入松  漁樵問答  溪山秋月  陽春  白雪  高山  流水  谿山  列子御風  神化  禹化塗山  山居吟  大雅  樵歌  樵歌 又  洞天春曉  山居引  思賢操  墨子悲絲  春雲  鳳凰鳴歧  鳳示凰  湘妃吟  陋室銘【友聲社琴譜】  桃源吟  列子御風  耕歌  漁歌  簫韶儀鳳  雉朝飛  大雅  挾僊遊  鳳翔霄漢  忘機  猗蘭  瀟湘水雲  蒼梧怨  莊周夢蝶  扣角歌  關睢  風入松  碧天秋思  風雷引  搗衣  木蘭詞  白雪  孤猿嘯月  廣寒遊  索雨歌  代淮南王【琴苑心傳全編】  凡例  醒心齋集 卷一  琴議  五音論  感攝論  琴說  三聲論  五聲序說  律呂論  原音論  十二律呂論  律呂配合卦氣隔八相生論  五聲五音論  五音君臣論  黃鐘之數  五聲十二律還相為宮  十二律旋相為宮論  三分損益說  律呂相生圖  變聲  五聲之變  五聲六律十二管還相為宮論  律呂相生  二變  七始  律呂體用  黃鐘辨  律應八風 卷二  黃鐘萬事根本論  考求聲氣之原論  黃鐘論  黃鐘辨  經傳格語諸子論說 卷三  制器論  琴體論  琴制度式  造琴式  造絃法 卷四  歷代帝王聖賢琴制  名琴備考  歷代名琴總論 卷五  雜引琴義 卷六  彈琴須知  定絃法 卷七  指法 卷八  手勢圖 卷九  神品宮意  古風操  陽春  高山  流水  圯橋授書  桃園春曉  梅花三弄  招隱 卷十  神品商意  神品古商意  懷古引  岐山操  白雪  思賢操  猗蘭操  杏壇吟  神遊六合  思歸引 卷十一  秋思  風雷引  古交行  漁樵問答  懷水僊  平沙落雁  客窗夜話  靜觀吟  忘機  清夜聞鐘 卷十二  神品角意  凌虛吟  溪山秋月  御風行  松下觀濤  來鳳引 卷十三  神品徵意  關睢  耕歌  山居吟  思親操 卷十四  石上流泉  禹會塗山  樵歌  塞上鴻 卷十五  羽意  雉朝飛  佩蘭  漢宮秋  萬壑松濤  滄海龍吟  鶴舞洞天 卷十六  神品無射意  大雅  頤真  秋月照茅亭  山中思友  獲麟  神品凄涼意  神品楚商意  華胥引  澤畔吟  離騷 卷十七  遯世操  神品商角意  神化引  古神化 卷十八  神品碧玉意  八極遊  神品蕤賓意  泛滄浪  漁歌  瀟湘水雲 卷十九  秋杵弄  廣陵散 卷二十  蘇武思君  神品姑洗意  飛鳴吟  秋鴻  譜余  附錄  周本流水  趙本坐忘  周本桃園春曉  趙本概古  趙本隱德  趙本廣寒秋  趙本雲竹榻  趙本風入松  趙本溪山秋月  周本文王操  周本石上流泉  周本禹會塗山  周本樵歌  周本塞上鴻  周本雉朝飛  音研本秋思  音研本古交行  音研本凌虛吟  音研本耕歌  音研本山居吟  音研本禹會塗山  音研本萬壑松涛  音研本大雅第十二冊【琴學心聲諧譜】  袁一相序  嚴沆序  查培繼序  鄧旭序  梁知先序  自序  凡例  琴論  琴聲十六法  太平奏  禹鑿龍門  釋變章  梨雲春思  瑤島問長生  早朝吟  空山磬  修竹留風  臨河修禊  八公還童  雲中笙鶴  鈞天逸響  栩栩曲  梧葉舞秋風  聽琴詩目【和文注音琴譜】  調絃入弄  清平樂  浪淘沙  東風齊著力  三才引  大哉引  秋風辭  歸去來辭  子夜吳歌  幽澗泉  久別離  醉翁操  八聲甘州  瑞鶴僊  鳳凰臺上憶吹蕭  太平引  鶴沖霄  南浦月  飛瓊吟  梅花  偶成  離別難  離別難 又譜  華清引  霹靂引  月當廳  憶王孫  草堂吟  長相思  相思曲  竹枝詞  小操  箕山操  熙春操  思親引  安排曲  樂極吟  高山  附錄一【明和本東皋琴譜】  操縵  浪淘沙  滄浪歌  鶴沖霄  思親引  子夜吳歌  秋風辭  寄隱者  南風歌  竹枝詞  憶王孫  華清引  小操  長相思  陽關曲  附錄二【大原止郞本東皋琴譜】  調絃入弄  長相思  南熏歌  滄浪歌  梅花  偶成  秋風辭  熙春操  鳴鳳朝陽  安排曲  子夜吳歌  相思曲  小操  東風齊著力  浪淘沙  石交吟  幽澗泉  醉翁操  三才引  寄隱者  清平樂  大哉引  霹靂引  離別難  歸去來辭  樂極吟  思親引  漁樵問答  陽關三疊  猗蘭操  瑞鶴僊  夜座  舟夜  操縵引  越公略傳  附指法【松風閣琴譜】  松風閣指法  忘機  九還操  釋談  思賢操  平沙  松下觀濤  悲秋  醉漁  玉樹臨風  樂山隱  春山聽杜鵑【抒懐操】  水調歌頭  萬年歡  沁園春  滿江紅  彩雲歸  醉翁操  攤破浣溪紗  水龍吟  減字木蘭花  意難忘  賣花聲  羽僊歌  漁家傲  減字木蘭花  意難忘  清平樂  憶余杭  卜算子  鷓鴣天  沁園春  點絳唇  憶秦娥  柳稍青  法曲獻僊音  臨江僊  兩同心  水調歌頭  長相思  玉樓春  意難忘  越溪春  瀟湘夜雨  漢宮春第一體  卜算子  減字木蘭花  臨江僊  高山流水【松聲操】  水調歌頭  萬年歡  沁園春  水龍吟  彩雲歸  清平樂  水調歌頭  臨江僊  滿江紅  長相思  小重山  臨江僊  越溪春  漁父家風  卜算子  醉翁操  減字木蘭花  瀟湘夜雨  畫堂春  意難忘  柳稍青  臨江僊  高山流水  武林春  憶余杭  清平樂  風入松  千秋歲引  玉堂春  風入松  洞僊歌  千秋歲  中興樂  秋蕊香  滿江紅  減字木蘭花  漁家傲  沁園春  玉樓春  偷聲木蘭花  杏花天  御街行  滿江紅  杏花天  賀聖朝第一體【松風閣琴瑟譜】  指法  忘機  九還操  僊曲  思賢操  平沙  松風引  悲秋  舒懷吟  玉樹臨風  樂山隱  大雅  蜀道難  大雅 瑟曲【徳音堂琴譜】  歷代聖賢名錄  歷代琴式  纂古要言  字母源流  洞天春曉  陽春  高山  流水  圯橋  鷗鷺  崆峒引  歸來曲  墨子  白雪  風雷引  秋江夜泊  靜觀吟  夏峰歌  釋談章  春怨  蒼梧怨  列子御風  平沙  良宵引  塗山  樵歌  蘇門長嘯  爛柯行  山居吟  洞庭秋思  佩蘭  秋怨  參同歌  春曉吟  神化引  大雅  安樂窩  離騷  瀟湘水雲  飛鳴吟第十三冊【琴瑟合壁】  范承都序  五聲十二律相生圖說  琴瑟協律  客窗夜話  平沙落雁  大雅  漢宮秋  程春翔跋【琴譜析微】  王弘序  汪鶴孫題詞  指法  指法宜忌二則 卷一  洞天春曉  和陽春  修禊吟  聽泉吟  釋談章 卷二  古交行  風雷引  秋江夜泊  中秋月 卷三  箕山秋月  蒼梧怨  良宵引  列子御風 卷四  塗山  樵歌  山居吟  洞庭秋思 卷五  佩蘭  雉朝飛  烏夜啼  玉樹臨風  春曉吟 卷六  神化吟  莊周夢蝶  平沙落雁  胡笳十八拍  瀟湘水雲  樂極吟  離騷  清商調【蓼懐堂琴譜】  字母源流  高山  流水  陽春  洞天春曉  梧桐夜雨  梧葉舞秋風  圯橋進履  釋談章  扣角歌  白雪  墨子悲絲  靜觀吟  箕山秋月  空山磬  良宵引  禹會塗山  漁歌  關睢  雁度衡陽  醉漁  塞上鴻  萬國來朝  漢宮秋月  雉朝飛  漢宮秋  海鷗記機  岳陽三醉  莊周夢蝶  平沙落雁  胡笳十八拍  八極遊  秋鴻  離騷【誠一堂琴譜】 卷一  魯風  洞天春曉  陽春  梅花三弄  梧桐夜雨 卷二  墨子悲絲  清夜聞鐘  琴書樂道  桃源吟  靜觀吟 卷三  溪山秋月  列子御風  松下觀泉  養生主 卷四  塞上鴻  樵歌  醉漁唱晚  關睢  蘇門嘯  山居吟  洞庭秋思 卷五  佩蘭  雉朝飛  漢宮秋  滄江夜雨  鶴舞洞天  春曉吟 卷六  羽化登僊  神化曲  大雅  挾僊遊  六合遊  瀟湘水雲  離騷  秋鴻  附:誠一堂琴談    集論    紀事【一峰園琴譜】  諸家琴論  禹祥年自記  琴曲目錄  古調絃法  琴學通考  歸去來辭  陋室銘  漁樵意  秋聲賦  平沙落雁  漁樵話  閨怨操  文鳳求凰  湘江怨  悵悵辭  良宵引  牧笛  惜賢操  秋江夜泊  高山  流水  鷗鷺忘機  雙鶴聽泉  陽春  白雪第十四冊【琴學正聲】  陶窳序  沈琯自序  凡例  目次 卷一  古琴疏  雅琴名錄  琴制  古琴辨  斫琴名家 卷二  指法精義說  左手指法  右手指法  節音諸法  指法存考  操縵節奏和絃諸法  古操縵樂譜 卷三  聲律求通序  五聲名義  五聲笺旨  十二律名義  五聲八音八風圖  八風名義  琴翼四章  五聲轉應圖  徽絃一百五音圖  徽音歌 卷四  重訂五聲二變考說  五聲二變考  商角音義  原本五音考  琴調晰疑  三調同度圖  外調轉絃式  徽律辨偽 卷五  琴理窺管  曲操篡聞  增訂琴曲譜錄  無文琴論  古琴曲操歌辭  古曲十二操辨 卷六  琴況  雜書琴事【響山堂琴譜】  流水  瀟湘水雲  雙鶴聽泉  秋江夜泊  和陽春  修禊吟  靜觀吟  風雷引  猗蘭  胡笳  蒼梧怨  欸乃歌  離騷  箕山秋月  秋鴻【澄鑒堂琴譜】  普照序  孔毓圻序  年希尧序  舒輅序  許汝霖序  徐秉義序  蘇梅序  方象璜《琴譜指法序》  甘應泰序  響山堂琴譜歌  楊文言序  何金驤序  范國祿序  自敘  琴譜指法  宮音  和陽春  流水  修禊吟  雙鶴聽泉  梧葉舞秋風  猗蘭  風雷引  白雪  秋江夜泊  靜觀吟  角音  箕山秋月  蒼梧怨  徵音  樵歌  漁歌  關睢  雁過衡陽  石上流泉  宋玉悲秋  洞庭秋思  醉漁唱晚  塞上鴻  山居吟  羽音  佩蘭  雉朝飛  烏夜啼  漢宮秋  商角音  羽化登僊  莊周夢蝶  昭君怨  徵羽音  平沙落雁  蕤賓調  瀟湘水雲  欸乃歌  搔首問天  黃鐘調  胡笳  大雅  姑洗調  秋鴻  無射調  離騷【五知斎琴譜】  黃鎮序  徐俊序  周魯封序 卷一  凡例  上古琴論  五音統論  指法記略  指絃雜辨  指法像形  上絃法  調絃法  琴學須知   名錄  歷代琴式  手勢  琴名  琴之象形   轉絃歌   徽音辨考  七絃論考  琴聲論  琴齋八則  指法 卷二  洞天春曉  高山  圯橋進履  鷗鷺忘機 卷三  墨子悲絲  風雷引  釋談章  普庵咒  靜觀吟 卷四  蒼梧怨  箕山秋月  良宵引 卷五  關睢  雁過衡陽  漁歌  塞上鴻  秋塞吟  醉漁唱晚  山居吟 卷六  漢宮秋月  蒼江夜雨  佩蘭  雉朝飛  烏夜啼 卷七  莊周夢蝶  羽化登僊  神化引  平沙落雁 卷八  瀟湘水雲  胡笳十八拍  秋鴻  搗衣  黃琨跋  附徐序  楊恢基傳第十五冊第十六冊【穎陽琴譜】 卷一  琴論 卷二  琴論  字譜源流  減字法  手勢圖 卷三  高山  流水  圯橋進履  漁樵問答  墨子悲歌  列子御風  塞上吟  水龍吟  平沙落雁  漢宮秋月  烏夜啼  大雅【蘭田館琴譜】  琴說  琴操半字譜自敘  琴操指法半字譜 卷一  洞天春曉  圯橋進履  高山  梧葉舞秋風  平沙落雁  鷗鷺忘機  桃李春風 卷二  墨子悲絲  碧天秋思  風雷引  普庵咒  秋江夜泊  靜觀吟 卷三  箕山秋月  莊周夢蝶  漢宮春怨  列子御風  良宵引 卷四  漁歌  樵歌  北塞上鴻  南寒上鴻  水僊曲  山居吟  讀經 卷五  佩蘭  漢宮秋月  烏夜啼  滄江夜雨  春曉吟 卷六  神化引  瀟湘水雲  八極遊  搗衣  騷意  胡笳十八拍【大樂元音】 卷一  形下篇 卷二  形上篇 卷三  琴操論并古操注釋 卷四  琴調論  律呂直解 卷五  指法論  指法圖  琴調圖譜總論  儀禮樂譜十二篇  琴樂旋宮轉調圖  大樂合音琴譜  孤琴音調譜  附琴學或問  瑟譜序 卷六  附瑟譜 卷七  附字學音韻【研露樓琴譜】  研露樓琴譜序  重刊研露樓琴譜序 卷首  目錄  指法 卷一   宮音   鷗鷺忘機   圯橋進履  商音   墨子悲絲   靜觀吟   釋談章  角音   松下觀濤   列子御風 卷二  徵音   塞上鴻   禹會塗山   樵歌   宋玉悲秋   平沙落雁 卷三  羽音   佩蘭   漢宮秋月   雉朝飛   烏夜啼 卷四  黃鐘   胡笳十八拍   大雅  蕤賓   瀟湘水雲   欵乃歌第十七冊【琴香堂琴譜】 卅八曲  馬士駿琴譜小引  吳景跋  指法  洞天春曉  圯橋三進履  梧葉舞秋風  鷗鷺忘機  桃李園  墨子悲絲  普庵咒  風雷引  靜觀吟  箕山秋月  漢宮春曉  良宵引  樵歌  漁歌  塞上鴻  關睢  天臺引  禹會塗山  水僊曲  碧天秋思  洞天秋思  山居吟  佩蘭  漢宮秋  雉朝飛  烏夜啼  滄海龍吟  羽化登僊  神化引  莊周夢蝶  昭君怨  平沙落雁  瀟湘水雲  欵乃歌  搔首問天  胡笳十八拍  秋鴻  搗衣【自遠堂琴譜】 九三曲  李廷敬序  張敦仁序  喬鐘吳跋  總目 卷一  凡例  皇極定聲 卷二  琴旨要錄 卷三  琴學指法 卷四 宮調宮音  高山  流水  洞天春曉  和陽春  幽蘭  圯橋進履  梅花三弄  梧叶舞秋风  鷗鷺忘機  雙鶴聽泉 卷五 宮調徵音上  猗蘭  白雪  墨子悲絲  風雪引  天臺引  靜觀吟  碧天秋思  秋江夜泊 卷六 宮調徵音下  羽化登僊  莊周夢蝶  龍翔操  神化引  牧歌 卷七 宮調商音上  關睢  漁歌  樵歌  耕歌  宋玉悲秋  蘇門長嘯 卷八 宮調商音下  禹會塗山  洞庭秋思  雁度衡陽  醉漁唱晚  僊珮迎風  水僊操  塞上鴻  山居吟 卷九 宮調羽音  漢宮秋月  蒼江夜雨  玉樹臨風  雉朝飛  烏夜啼  鳳翔霄漢  鶴舞洞天  佩蘭  春曉吟  平沙落雁 卷十 宮調角音  箕山秋月  蒼梧怨  列子御風  漢宮春  良宵引 卷十一 徵調宮音  胡笳  大雅  徵調商音  瀟湘水雲  欵乃歌  搔首問天  商調商音  秋鴻  搗衣  商調羽音  離騷 卷十二 有文各曲  鹿鳴操  南薫歌  思親操  文王操  岐山操  拘幽操  越裳操  履霜操  將歸操  龜山操  鳳求凰  歸去來辭  桃李園序  聽琴吟  陋室銘  秋聲賦  前赤壁賦  法曲獻僊音  漁家傲  水調歌頭  卜算子  清平樂  越溪春  沁園春  減字木蘭花  臨江僊  長相思  兩同心  釋談章  普庵咒

6 degree of separation no3 :

6 degree of separation 15books
Today, 15book on fb is the starting point for "6 degree of separation no3"

What happens on the 6th move, what situation do you have, and distance travelled?

Tuesday, 23 June 2009

Nokia w feather linux, wangxiangs cube, exporting sl to opensim


What have we got today? Nokia w Feather Linux, Lion, American comic book 2008, Guqin introduction handbook, copper wire coated white and blue

WangXiang's two cubes arrived today from Penglai Island (sl)! With Chinese Ox year French stamps!

assembled, two cubes, with signature too! v nice.

Export high quality sim outside of sl:
Very interesting news, we could export all our builds from sl to an Opensim!

Sunday, 21 June 2009

fête de la musique à Paris, wwg cd

Fête de la musique à ParisI have to listen to different music.

I do not need to meditate, and certainly not meditate 100%

What I have on hand today


WU WenGuang 吳文光 cd, poppy from yesterdays walk, ink quill, mini cube for a model of the rl HH Mobile Music

cube situation

Saturday, 20 June 2009

Jumping links, 6 degrees of separation, HomeShop, bought a Stone Tree Castle

Bought a Stone Tree Castle, for playing the guqin in sl, I had made an atelier, a transformation of an existing freebie house. Took a lot of time.
Now I found this Stone Tree Castle, its also based on a freebie Lighthouse - but I have no time to do major renovation. So for now, I just bought one ready made to do some interior work for now. Until further notice. I would like to have scripts to make the vine curtains grow though, maybe change colors too. :)

How do we go from one point to another, what are the links, like jumping-Chinese checkers game? How many steps do you need to get from point A to point B? And if you didnt decide ahead of time where point B is? There is a theory that nobody is separated from anybody else by 6 steps: 6 degrees of separation.

How did I find an interesting person? Starting from an interesting picture.
1/ I saw this profile pic, cute old person => click, here it is He YingYa - HomeShop
This picture is so cute, old people in Beijing. A lot of old Chinese people are so adorable.
2/ He YingYa wrote to me => because of Secondlife, Digital Guqin
3/ Found => Elaine Ho linked to HomeShop - Artist Elaine Ho, HomeShop work in Beijing.
What next?
4/ Mr.Tong of Tang Fu
5/ Cinema expert from Vienna

Secret Target: Who ends up here?

6/ Russian businessman
7/ XiaoDong exhibition
8/ Eva, former student; now assistant of Jia ZhengKe
Surprise, surprise!!
9/
10/
11/
12/Secret Target: Who ends up here?
13/

Friday, 19 June 2009

Qin teaching

Other Qin teaching set ups as follows:

Class room situation,
two rows of seats, 10 per class. Teacher explains, using text book, student plays. Each student performs the exercise as per teacher instruction. Some details about the phrasing, musicality of why this must be played like this or that.

One on one situation.
Teacher demonstrates phrase by phrase, note by note, student repeats. Memory work.
Student seats opposite teacher. 45mn

One on one situation
Teacher shows notes and exercise sheet, techniques are used. Plucking, thumb, middle finger etc. wrist position versus the surface of the qin - to not strain the wrist over a long period of time. Listening - how each sound is projected from the instrument if flesh on thumb or finger drag too much on string or not...

Stephen C. Walker guqin player, learning Guqin

Stephen C.Walker has several sites on the guqin, very eloquent. I learnt that 3 of his sites are blocked in China. Curious. One of them is so attractive, expressive on Liu ShaoChun - Master Player from Nanjing, grandfather of a friend. These are very bright writings crossing Chinese, Non-Chinese boundaries with Medieval music sources too, and videos of his playing - how convincing is a qin scholar who only talk and not play? (many play but only for themselves, see quote below *) His background is solid with musical training at an early age, and from his texts he probably attacks all his interests fully - he calls "plumbing" - :)

Swann reproduces here, his quote on his welcome page, which expresses the essence of the guqin.


琴之為物, 乃聖人治世之音, 修身養性之器。
"The sage-kings used its tone to order the world. It is the tool for cultivating character and nourishing the fundamental nature. Such is the qin."

余嘗謂彈琴與人聽, 固不足言; 彈琴及同志小集, 僅供研究, 亦不足言; 彈琴至我彈與我聽, 庶乎可言矣。然仍不如我雖彈我並不聽, 手揮目送, 純任自然, 隨氣流轉, 不自知其然而然, 斯臻化境矣, 斯可言琴矣。然此亦僅可與知者道耳。


"I have said before that playing the qin for others to hear is hardly worth speaking about. Playing it at small gatherings of the like-minded only provides for discussion and conferral, and is likewise not worth speaking about. Playing while I alone listen is almost worth speaking about, but it is not equal to playing without listening. My hands and thoughts move effortlessly together; in purity I rely on the spontaneous, following the circling flows of the cosmic breath; I know not that I am so but am simply so—such is to reach the realm of transformation, and this alone can be called the qin. It can be spoken about only with those who truly understand."



- Zhang Ziqian 張子謙 (1899-1991)


*I totally agree with the essence of the message, however, this is at a very high level of achievement, we are talking about someone doing soliloguy with himself through the qin.

For other players, we need a huge amount of playing in group and outside of group situations to raise the level (of any art). You must have mutual learning opportunities, but not only group situations, but also a lot of time by yourself. You only have to see a general level of any art in any community.

Take a very banal example, cooking is generally good everywhere in Hong Kong - whereas not so sure in a lost town in the middle of a desert somewhere in a vaste country (this includes China). Simply because, you have no competition and no parallel samples.

Coming back to the basic question, is it better to learn guqin in a group - which group? or under a single teacher? As Christopher E says, Swann must first find out why she wants to learn the Guqin in the first place and then decide.

Thursday, 18 June 2009

Facebook and sl, Guqin,

Swann has to look hard to find guqin people to come into sl.
She has to look hard to find guqin people.
So, she went to FaceBook, and surprise! Almost everybody is there! They are in Facebook!

What is facebook? And how is facebook as a people network different from sl?
Taka from sl has defected to facebook a few months ago, he puts up beaufitul flower photos. :)

Interesting discussions, links, rl contacts, Facebook is like a text and image rl telephone, whereas sl is telephone plus 3D visual stimulus minus graphic text and image, plus theatrical play. sl could role playing with much imagination!

Take for example:
A friend from sl asked me to see him in his new nude self. He also wants to test some animation balls to see if they work! Could I please test it with him?

In Facebook, I think this kind of immersive imagination play does not come about so naturally.

But the Facebook network interchanges is not in real time, its message pause, message pause. Unless you are chatting - there is a time delay function. Its not pressing, so you have no urgency to answer immediately, no need to hang around to see whats happening next? In sl, it is as if you are living a parallel real life.

Many people are on both.
Their uses are different.

Money Graveyard, Eifachfilm Vacirca

Odyssey Art and Performance Sim

Here are reproductions of real life art - for example Beuys installations - but what is the meaning of installing someone elses work in sl? It must be interesting for some visitors I guess.

My interest is to see an idea come true - in sl - in rl... On the other hand, regarding Beuys idea, his installation is fine enough to express in sl, if it didnt already exist in rl, I think there is no need to do it in rl, I would say - so much waste of good trees. :)

Here below is a money graveyard. Imaginary Money Graveyard by http://d-oo-b.cc,
Eifachfilm Vacirca.

Money bills are soft, cant stand upright like this in sl, and if its reproduced in rigid panels in rl, it is not the same. This is an idea perfect for an sl installation. Graphically and conceptually it works.

Wednesday, 17 June 2009

self learning: Chinese guqin site; Guqin players : Wu ZiYing 吳自英 (1943—) , Luca Bonvini

http://www.chineseguqin.com/
Apparently, somebody started learning the guqin without a human teacher, but via the above site.

Wu ZiYing
I like the way this gentleman presents the guqin to everybody. 吳自英(1943—) I also like his site, very clean and to the point, no unnecessary frills - especially smart and timeless is the abstract diagram of the qin face w the 13 nodal points.
About Guqin
Since the art of guqin music was recognized in 2003 by UNESCO as one of humanity's cultural treasures warranting protection, it has begun to receive more attention around the world. However, because of the instrument's rarity, it has fallen far short of broad popularity. Although many are quite curious about guqin music, most have little understanding of it. Thus, achieving a wider international audience who are able to appreciate guqin music is a very difficult task indeed. For this reason, it is incumbent upon every scholar and performer of the guqin to strive to meet this challenge and this is a goal to which all of us who are devoted to the guqin should dedicate ourselves.

Guqin music is China's oldest, purest traditional music, having received very little influence from other Chinese or foreign musical traditions. Within the treasury of Chinese music culture, no other musical instrument can match its extraordinary cultural value. For over a millennium, the guqin repertoire has been preserved, a detailed historical record of the guqin's development has been maintained, and a completely unique system of notation of its music established, which makes the tradition an important and integral part of Chinese culture.

As the contemporary qin scholar Cheng Gongliang 成公亮 remarked in the postscript to his work titled Pao xiu luo lan 袍修羅蘭:

In traditional Chinese culture, the guqin occupies a very important and unique status. It is a rarely seen instrument in either the performing or popular arts. It is an instrument used by the Chinese literati to express yearning and to convey emotion and inspiration. Its elegantly antique sound is often the echo and reverberation from a kind of spiritual realm. It is like a guide to the musing mind. The ancients often used the guqin to articulate their thoughts, playing out their innermost feelings while expressing their spiritual and philosophical worlds.

I have never sought fame or fortune by playing the guqin, and have for over forty years simply offered lessons and occasionally played for movie soundtracks and theatrical dramas. Now, at the urging of my many students, I am releasing my first CD, with a second CD in preparation. If the music I perform increases the audience for the guqin and deepens their appreciation and understanding of the guqin, then I will have achieved my fundamental goal for releasing these CDs.

Wu Ziying
Seattle 2005

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Luca Bonvini from Paris: I found a Youtube of Lucas version of Liu Shui.
Luca Bonvini
===

Tuesday, 16 June 2009

Guqin bloggers in rl, Huang WenYi

Guqin Institutions, Shanghai visits, in Chinese (take a look at pics if you cant read, or get Altavista, BabelFish, free online instant-translations)
by Huang WenYi here

著名古琴大师吴文光教授在“文一琴舍”作精彩讲座

I have used Professor Wu WenGuang's Barbarian's Reed Pipe in 18 sections - for one of the tunes of the Virtual Instrument, Digital Guqin Hundun no1. A beautiful tune.

Professor Wu showed some new orchestral arrangements that he is experimenting at the Taichung conference. He is one of the rare guqin people who is interested in new ideas. Am happy that he is so open about this.

Monday, 15 June 2009

Digital Guqin Museum, get Guqin Playing fashion, all free!

Digital Guqin Musuem venue in sl, come play and try the Digital Guqin instrument, meet friends, drink tea, snack, yaji, watch Youtubes, surf web together... get your guqin playing clothes, and visit the other SIMs. Enjoy !

All Free! Come to Digital Guqin Museum!

To learn about Guqin in real life, go here, and enjoy meeting your friends in the Virtual World, go here.

LianHuanHua 连环画 /BD/Comic book : of Digital Guqin Museum Story

http://www.flickr.com/photos/69077492@N00/sets/72157619515725129/show/

Let's build our story together, and write a special experimental chapter of contemporary Guqin in real life, real time !

Sunday, 14 June 2009

HuaHui House building, cube by cube, Aquitos cube in!

MobileMusic one person sitting inside, HuaHui cube curtain wall

MobileMusic overall view, HuaHui cube curtain wall

To contribute a HuaHui cube to the MobileMusic Digital Guqin Museum, details here:

Story of the Digital Guqin Museum from Virtual World to Real World: here
LianHuanHua 连环画 /BD/Comic book : of Digital Guqin Museum Story

http://www.flickr.com/photos/69077492@N00/sets/72157619515725129/show/


Cubes are coming in! Captain standing next to the building material. With logbook to reassure things are on course.

Aquitos beautiful cube, high precision - just like his bridge at Hanako land.

Friday, 12 June 2009

Narratives, people, action

What makes a successful SIM?
When the people in the SIM share a narrative - that they can construct and build together, thats when its exciting - you want to see what happens next? (with you in it; otherwise, it would be more like making of a movie)

And what happens when you get a successful SIM?
Are you going to continue - immersion and more immersion, and what about real life?
(do you ever get out of the movie? or the theatrical workshops?)

Virtual Worlds are like a passage to real life - otherwise, how does that perpetual immobile parking of the self impact on the real life body?
Wont you get sick from sitting all day infront of the computer? :)
Is it possible to do exercise just by thinking of doing exercise?

How do the massage tables work in sl, and how much does it work?

===

sl rl is there anything you want that you cant get in rl but could test modelling in sl?

A qin playing place

Another quiet place for qin music, the HuaHui Mobile Music house. We are making it right now, want to contribute some aluminum skin ? Details

Anything you really want and cant get in rl and you could talk outloud about?

I presented sl to a friend, a high ranking prof. He said, what is this? What can you do with this? I dont need this.
I asked, is there anything you want that you cant do in rl, maybe you could test it out in sl?
He said, I have everything. I dont need anything.
I said, there are things that you might like, but you cant say it, and there are things that you can say out loud. Are there anything at all that you would like that you could also say outloud that you cant do in rl? Maybe we could try to see if it could be possible in sl?
He thought about this for a while.
He just couldnt get used to these rough little animation figures... what is this all about?

I know what I want.
I want to write stories, draw pictures, create and live a narrative without all the problems of material real life (that is in some way possible if you stayed entirely in sl - but who wants to give up rl to do that? ), build house, create a pleasant environement, and listen to all kinds of music. Good food, good drinks too of course. Then people say, what about the "cookie"? Yes, of course the cookie too. Without the cookie, life becomes slowly meaningless. But if you only had the cookie, you would soon get tired of it.

2009 Digital Guqin Museum presents at: CHIME meeting Brussels Nov 09; DGM story book

LianHuanHua 连环画 /BD/Comic book : of Digital Guqin Museum Story

http://www.flickr.com/photos/69077492@N00/sets/72157619515725129/show/


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Digital Guqin Museum presents at: CHIME meeting Brussels Nov 09,
Theme Five: World of Guqin

complete programme here:

Upcoming CHIME meetings

Latest update: 10 June, 2009

Chinese and East Asian Music: The Future of the Past

14th International CHIME Conference
Musical Instruments Museum (MIM), Brussels, Belgium
18-22 November, 2009

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Theme 5 ­ The world of guqin

CHOW, Shuen-Git Natasha , Digital Guqin Museum Virtual World - Real World, Nogent-sur-Marne, France
Digital Guqin Museum: Preservation, promotion and development of the guqin through an online immersive Virtual World - Secondlife; Real World : Mobile Music HuaHui House

================
Latest update: 10 June, 2009

Chinese and East Asian Music: The Future of the Past

14th International CHIME Conference
Musical Instruments Museum (MIM), Brussels, Belgium
18-22 November, 2009


The CHIME meeting, on 'Chinese and East Asian Music: The Future of the Past', will take place at the Musical Instruments Museum (MIM) in Brussels from 18 to 22 November 2009. We look forward to an impressive programme, with over 60 presentations, supplemented with numerous concert performances and workshops.

We received a formidable number of submissions for the meeting, almost twice the number we thought we might be able to harbour! Not surprisingly, it has taken our Programme Committee great pains and effort to finalize its decisions, and to think of practical solutions. Below, we present the papers and events that have been selected for inclusion in our programme.

The programme will be finalized in October. Keynote speakers will be announced in August.

In early June we will issue on this website a list of possibilities for hotel and youth hostel booking, and a pre-registration form. Given the size and scope of the Europalia Festival and the numbers of visitors expected, we kindly urge you to book accommodation in Brussels as early as possible.

We look forward to welcoming everyone at the MIM in November. Anyone not presenting a paper, but interested in attending the conference programme and the concerts as a listener, is most welcome to register, too. The conference is a scholarly meeting, but open to anyone interested in Chinese and East Asian music.

Conference participants who play traditional musical instruments may want to bring them to our informal musical 'corridor gatherings'.

See you in Brussels in November!

Contact
For practical questions concerning the conference, please contact the organizer, Mrs Clarie Chantrenne at: claire.chantrenne@mim.fgov.be

Or via postal mail:
Mme Claire Chantrenne
Musical Instruments Museum (MIM)
1 rue Villa Hermosa
B-1000 Brussels
Belgium

For questions about the conference programme, the concerts and exhibitions, you can contact Frank Kouwenhoven at CHIME, European Foundation for Chinese Music Research, Postbox 11092, 2301 EB Leiden, The Netherlands, e-mail: chime@wxs.nl, telephone +31-71-5133.974.

Main conference theme
What are the future prospects for numerous musical genres (and instruments and stylistacal traits) from China and East Asia's past? This theme will be explored from a wide range of angles, such as:

- Development, preservation and reconstructions of musical instruments

- Preservation and continuation of traditional and 'folk' music

- Reconstruction or re-emergence of historical genres

- Continuation of elements from the past in reinvented traditions and in new music

- Conservation and use of recordings, fieldwork materials and collected objects

Special guests, fringe programme, and Europalia Festival
Among the special guests in this meeting we welcome the local shadow puppeteers of Huanxian (East Gansu), the Beijing zheng trio San Chuan (who combine age-old Chinese string idioms with a jazzy groove) , well-known senior masters of Chinese string solo instruments such as Li Guangzu (pipa), Chen Qijun (Chaozhou style zheng), Ding Chengyun and Fu Lina (qin and reconstructed se), senior marionette theatre specialist Wang Jingxian from Fujian, prominent contemporary composers Guo Wenjing (Beijing) and Liu Xing (Shanghai), as well as the much talked about contemporary theatre director Li Liuyi (Beijing), plus numerous young Chinese scholars and artists.
You will have occasion to hear the guqin (the classical Chinese 7-stringed zither) played as you have never heard it played before, will be able to attend vocal workshops on folk song, qin songs and Chinese opera led by renowned specialists. All of this will take place in eminently fitting surroundings, with a lot more Chinese music and culture to enjoy, thanks to the impressive 2009-2010 edition of the Europalia festival of which the CHIME conference will be a part.

The upcoming edition of this festival, a biennial event, will be devoted to China. The festival encompasses no less than eighty (!) concerts of Chinese music, with more than 1,000 artists, as well as some forty exhibitions, and countless other activities, in a period spanning four months. Among the many highlights will be performances by the Guangzhou Symphony Orchestra, the China National Traditional Orchestra (Beijing), but also numerous concerts by rural traditional ensembles and groups, of which several have not performed in the West before. From rowdy shawms and four-stringed fiddles played with bows as thick as broomsticks to the latest fashions in Chinese heavy metal, pop, jazz, and contemporary dance, the festival will have something to offer for everyone's taste!

Preliminary list of conference themes and presenters

Theme 1 - Musical instruments


CHENG, Lancini Jen-Hao, Phd Student University of Otago, New Zealand
The Development, Preservation, and Reconstruction of Formosan Aboriginal Musical Instruments

CHENG Yu, SOAS, University of London, England, UK
Reintroducing the 5th string - Creating the Lost Tang Dynasty (8th Century) 5-stringed pipa for the 21st Century

DING Chengyun & FU Lina, Wuhan Conservatory of Music
Origins, reconstruction and development of the ancient se zither and its music

FUJITA, Rinko, Vienna
The Tradition and Ingenuity: Taishogoto, the First Keyboard Instrument in Japan

HAN Mei, Vancouver, Canada
Phoenix Rising, Bastions Fall: Challenging the Stereotypical Depiction of the Chinese Zheng and Reinstating Individual Expression

JAEHNICHEN, Gisa, Music Dept, Universiti Putra Malaysia
Chinese versus Lao Temple Drums in Northern Laos

KIBIROVA, Sanat, St Petersburg University of Culture and Arts
Revival and Reconstruction of Musical Instruments of Kazakhstan's Uyghurs

LIN Chen, Music Research Institute, Beijing
The improvement of instruments in the early period after the establishment of the People's Republic of China

LIU XING, Bandu Café, Shanghai
'Guang ling san' for zhongruan (Chinese guitar) - Transmission and critical assessment

LIU Yong, Dept of Musicology, China Conservatory of Music
The Revival of 'Si Bin Fu Qing' (Chinese chime stones)

WANG Hua, Music School, Minzu University of China
Xianzi, a Tibetan plucked stringed musical instrument

ZHOU MING, Music College, Shandong University of Arts, China
Cuo Qin - Chinese Folk Music Instrument


Theme 2 - Music and ritual: issues of conflict and change

BAN Junrong, Music Department, Nanjing Xiaozhuang University, China
The protection and development of the art of Longdong suona (shawm and percussion music from Eastern Gansu)

CANEY, Arlene, Music Dept, Community College of Philadelphia
Perception of the Uighurs in Chinese Performances

CHMELARCIK, Jan, Sinology Dept, Charles University, Prague
Music of Development: Traditional Music, Folk Ritual and Land Policy in Southwest Shandong

CROMPHOUT, Anne Laure, Universite Libre de Bruxelles, Belgium
Cultural Transmission or Cultural Preservation: The Transformation of Amdo Tibetan Music

GAUTHARD, Nathalie, Dept Arts and Ethnology, University of Nice Sophia Antipolis, France
Between Religion and Entertainment: Creation of a Transnational Form of Tibetan Sacred Dance

KOUWENHOVEN, Frank, CHIME Foundation, Leiden, Netherlands
Chinese Temple Festival Dynamics

LIU Guiteng, Cultural Ministry, Dandong, China
Drum in the Mongolian Shamanistic Huderqolu Ritual of the Bargu District

LIU Hong, Shanghai Conservatory of Music, China
Daoist Ritual Music in Shanghai

PICARD, Francois, Musicology Department, University of Sorbonne-Paris IV
Long-time Permanence of Musical Repertoires in Ritual Practice

REES, Helen, Music Dept, UCLA
The Future of China's Musical Past: Snapshots from Yunnan

XIAO Mei, Shanghai Conservatory of Music, China
Crowning of a Spirit Medium (Guangxi, China)

TAN Hwee-San, SOAS, University of London, UK
"Intangible Cultural Heritage with Chinese characteristics": The Preservation of Intangible Cultural Heritage in China, an examination of Government Policies and Their Implications

THORAVAL, Fanch, University of paris Sorbonne, Paris IV, France (et al)
Music, sound and gesture: change and continuity in ritual traditions [Panel]

THORAVAL, Fanch, University of paris Sorbonne, Paris IV, France
The Hidden and the Shown: Some Change in the Sound Dimension of the Daoist Liturgy

TSAO Pen-yeh, Shanghai Conservatory of Music (et al)
Ritual Soundscape in China's Belief System: Three Field Sketches [Panel]


Theme 3 ­ Rethinking the musical past


CROSSLAND-GUO Shuyun, Nanyang Technological University, Singapore
The Quanzhou Nanyin: Historical Connections and Present Manifestations in the Southern Folk Operas

ERDENECHIMEG, Luvsannorov, Bloomington, Indiana
Research on the Historical Manuscripts of the Yuan Dynasty: Aspects of Palace Music in Volumes 70 and 71

FU Limin, China Conservatory of Music, Beijing, China
Study Report on 'Hebei Shenfang Concert'

LEE Ching-huei, Dept of Trad Music, Taipei National University of the Arts
Beyond the Innovation: the Change and Decline of Gongche Notation Used in Shingaku in Japan

MCCURLEY, Dallas, Dept of Theatre, Drama and Dance, Queens College, CUNY
On the Role of Martiality in the History of Xi

MIDDENDORF, Ulrike, Institute of Chinese Studies, University of Heidelberg
Lament and Praise Songs (yintan qu): Some Notes on an Early Chinese Song Genre

SHEEN Dae-Cheol, The Academy of Korean Studies, Republic of Korea
The Transmission of Two Pieces of Chinese Music and Their Influence on Korean Music

THRASHER, Alan, Music Dept, UBC Vancouver
Sizhu Music in Perspective: Rethinking the Ancient Origins Belief

TIEN, Adrien, National University of Singapore
Musical-linguistic interface as preservation and continuation of traditional Chinese music

WANG Ling, Yunnan University, Foreign Languages Dept, Kunming, China
Classifications and Characteristics of the Images of Prehistoric Dances on Cangyuan Cliff Paintings

WELLS, Marnix, London, UK
Recovery of Lost Musics: 'that strain again, it had a dying fall!'

WEN Qiou-Ju, Music Dept Taiwan National University, Taipei
On the Musicological Concept of Quanzhou Qu's 'Men-tou'


Theme 4 ­ Japanese music: Cultural policies and issues of continuity

CHOKI Seiji, The University of Tokyo, Japan
Cultural Politics of the Japanese Government during the Great East Asia War

GOTTSCHEWSKI, Hermann, The University of Tokyo, Japan
The Role of Music for the Japanese Cultural Policy in the Colonial Period (1895-1945) [Panel]

GOTTSCHEWSKI, Hermann, The University of Tokyo, Japan
Gagaku and Pan-Asianism

LEE Kyungboon, Seoul University, Korea
Europeanized Tradition as Propaganda - Ahn Eaktai's Etenraku in Context of the Japanese Cultural Policy During the Second World War

NAKA Mamiko, Doshisha Women's College of Liberal Arts, Kyoto, Japan
How Japanese Residents in China studied Japanese Traditional Music in the Early 20th Century


Theme 5 ­ The world of guqin

BONVINI, Luca, Paris, France
Transcription of Western Modal Music for Guqin

CHOW, Shuen-Git Natasha , Digital Guqin Museum Virtual World - Real World, Nogent-sur-Marne, France
Digital Guqin Museum: Preservation, promotion and development of the guqin through an online immersive Virtual World - Secondlife; Real World : Mobile Music HuaHui House


DYDO, Stephen, New York Qin Society, NY, America
Tang Melodies in Contemporary Performance

MAEDER, Marion, University of Cologne, Germany
Giving in to Modernity, Past and Humor - Traditional Guqin Music Today

ROBERTS, Jeffrey, Beijing Center for Chinese Studies
Li Xiangting and Guqin Improvisation: New Direction or Recreation of an Ancient Tradition?

YANG Yuanzheng, Department of Music, The University of Hong Kong
Demystifying the Golden Age Craftsmanship of Qin Making


Theme 6 ­ Innovating Chinese music and theatre in modern times

BEHEYDT, Renaat, Hogeschool voor Wetenschap en Kunst, Leuven, Belgium
Traditional roots in contemporary 'classical' music. The work of Zhang Haofu

BERNARD, Marie-Helene, University Paris-IV La Sorbonne, France
New Music, Old Instruments

ENG, Clare Sher Ling, Dept. of Music, Yale University, Brooklyn NY
Sounds of Old China Rising During the Cultural Revolution

GRAUSO, Monia, University Tor Vergata, Rome, Italy
Liu Sola and her New Chinese Jazz Music

GUO Wenjing, Central Conservatory of Music, Beijing
Writing for Chinese and Western orchestra [Interview]

KO Yi-Fang, Music Dept, University of maruland, Baltimore, USA
Pipa in contemporary music. Invention, Dissemination, Transformation of traditional Instrumental Music

LAM Ching-wah, Hong Kong Baptist University, HK
Musical Innovations in Huangmei Opera Films in Hong Kong and Taiwan

LAW HO Chak, The University of Hong Kong
Questioning how kunqu becomes 'a heritage to be modernized' - A concise study on the musical accompaniment of Bai Xian-yong's 'youth version' of of the kunqu play Peony Pavilion

LEUNG, David, Hong Kong University
Wenren Aesthetics and Hong Kong Contemporary Music

LIEN Hsien-Sheng, Humanities Research Center of the National Science Council, Taiwan, ROC
Sound, Song and Cultural Memory - Examples from Contemporary Taiwanese Music

LI Liuyi, Beijing
Traditional Chinese Theatre in New Guise: A Contemporary Stage Director's Views [Interview]

PIRAS, Marta, University of Rome La Sapienza, Italy
Mozart and Beethoven in Mandopop: the hit-single 'Don't wannna grow up' (Bu xiang zhangda) from S.H.E.

TAN Shzr Ee, Royal Holloway University, London, UK
The Rise and Fall of 'Red' Accordions and Harmonicas in Singapore

WANG Jingxian, Quanzhou Marionette Puppet Theatre, Fujian
Preserving the ritual Mulian plays, innovating Chinese puppetry [Interview]

ZOLLITSCH, Robert, Munich, Germany / Beijing, China
Young musicians trained at Chinese conservatories - their situation and perspectives


Poster session


A number of lecture presentations will take place in the framework of a poster session. Presenters invited for this session have already received individual notice about this via email. For the poster session, presenters will be provided with standard-size cartons, on which they can stick photos, printed or written texts etc. We will have cartons, scissors and glue ready in Brussels, but presenters are kindly requested to prepare print-outs and photoprints at home and bring them to Brussels. Visitors will be able watch the posters like in an exhibition; the poster session in its entirety works somewhat like a 'market', with a crowd moving around freely and individually. We will reserve a timeslot of 90 to 120 minutes for this session, with no parallel activities taking place. Presenters can take questions from individual visitors, and may have computers with headphones ready (we will take care of connecting points) to demonstrate moving images or sound examples. In our experience, the poster session is an attractive an effective alternative format for introducing research topics, With the number of presentations offered for Brussels, it is also the only way to schedule everyone whose abstracts have been accepted.


Workshops and Demonstrations

GONG Linna, Beijing, China
Workshop on Chinese Folk Song Singing

ZHAO Chunyan, Shanghai Peking Opera Troupe
Workshop on Peking Opera singing and dance

XIE Zhen, Huanxian Daoist Shadow Puppet Theatre, Gansu
Demonstration: musical instruments and the operation of shadow puppets (with members of the group)

WANG Jingxian, Quanzhou Marionette Puppet Theatre, Fujian
Demonstration: Operating Chinese marionettes (with members of the group)




Concerts and performances


During the 5-day period of the CHIME meeting, a great many concerts of Chinese music will be scheduled in Belgium, for which you can purchase tickets at your own leisure. These include traditional Chinese theatre performances by the Shanghai Peking Opera Troupe, the Huanxian shadow puppeteers and Living Dance Studio in Brussels and Antwerp. Composer Guo Wenjing's fine new opera trilogy 'Heroines' will receive its Belgian premiere, and Liu Sola and other cross-over artists will give concerts in Brussels. Antwerp will host a Shanghai Cultural Week, with Muhai Tang conducting the Flanders Opera Orchestra in works by Chinese composers. The Quanzhou Marionette Theatre of Fujian will perform in Brussels, Eupen and Liege. In the wake of the CHIME meeting, BOZAR in Brussels will organize a China weekend on 5 and 6 December featuring Kun opera, as well as Tibetan, Mongolian, Uighur, Yi, Hani, Zhuang and other ethnic vocal music, plus more puppet theatre (from Zhangzhou) and numerous other events. For more on the programme, you can consult the Europalia festival website at www.europalia.be (details to be published after press conference 7 May 2009)

But even if you will just be in Brussels for CHIME, and decide only to follow the CHIME programme, you will not be able to escape a great deal of live music-making and performances.
The concerts and demonstrations scheduled below will be included in the registration fee for the conference, except for the Chinese opera performance on Saturday 21 November:

18 November (afternoon): Quanzhou Marionette Theatre
Afternoon opening of the CHIME conference by one of China's finest puppet play ensembles of today, (and much more)!

18 November (evening): Guqin, on different terms

"Hey, not guqin again, please...!"

Well, we opted for a difference, and organize a yaji ('elegant meeting') that may not be elegant at times, but pleasing (and shocking) enough in its own right. Here are musicians to make you feel nostalgic about the future of the past, because they shape new vistas for China's oldest and most venerated 'high-brow' string instrument.

Senior masters Ding Chengyun and Fu Lina from Wuhan will play unheard-of duets for qin and se (another type of ancient zither). Lin Chen, young disciple of the celebrated traditional master Lin Youren, adds new dimensions to the deep tranquility and power of her father's style of qin playing. She also accompanies Beijing-based singer Gong Linna in a series of ancient classical as well as newly-composed qin songs, transversing an amazing range of Chinese dialects. Co-support is offered by Wang Hua on bamboo flute. Liu Xing, from Shanghai, succesfully transfers the repertoire of the guqin to zhongruan, making it sound like avant-garde, and Luca Bonvini, one of the West's finest qin players, performs John Coltrane on qin. He turns the classical seven-stringed zither into the saxiest of Chinese instruments.

Ding Chengyun, qin, Wuhan conservatory
Fu Lina, se, Wuhan conservatory
Gong Linna, vocals, Beijing)
Lin Chen, qin, Music Research Institute, Beijing
Wang Hua, dizi bamboo flute, Beijing
Liu Xing, zhongruan, Shanghai
Luca Bonvini, qin, Italy/Paris

19 November (morning): Huanxian Daoist Shadow Theatre
Demonstration of the puppets and the ensemble music of a truly fine traditional rural ensemble from Huanxian, East Gansu. At home they perform in temple festivals, and help to cure the sick and the needy. In Brussels, there will be opportunity for curious conference-goers to try out the puppets and the shadow screen for themselves, but also, perhaps, to get blessed by a pantheon of local Gansunese gods and spirits! Those who like to explore the full range of this group's (magnificent) repertoire may want to attend the evening programmes of 20 and 21 November at the Theatre National in Brussels.

19 November (evening): China Blossoms
The old clashes with the new in friendly fashion in this remarkable bouquet of Chinese string instrumental music, adorned with film interviews. The time-honoured art of Li Guangzu, splendid senior pipa master of the silk string era (son of the famous Li Tingsong) is contrasted here with the virtuoso modern-style pipa playing of Zhao Cong, a fantastic young pipa soloist from Beijing. Likewise, Chen Qijun, only in his forties, and already one of the finest traditional style performers of Chaozhou (southern Chinese style) zheng music, will pitch his introvert and meditative traditional solos against the sexy ensemble pieces of the Beijing zheng trio 'San Chuan'. All these performers, steeped in very different musical styles and epochs, can truly make their strings sing, and they perform with rare commitment. Forget about 'the conservatory style' - come and hear this!

Li Guangzu, pipa, Beijing
Zhao Cong, pipa, Beijing
Chen Qijun, zheng, Chaozhou
Wang Yao, zheng, Beijing
Liu Yu, zheng, Beijing
Sang Ka, zheng, Beijing

21 November: Shanghai Peking Opera Troupe: The Silver Serpent

A crew of nearly eighty from Shanghai will assemble at the Bourla Theatre in Antwerp for a grand-style performance of the Peking Opera classic 'The Legend of the White Snake'. A feast for the eye and the ear, and one of this group's most succesful productions in recent years. Since Antwerp is only half an hour from Brussels, we hope to be able to get our conference participants there comfortably by buss.

22 November: MIM afternoon jamboree
A free for all Sunday afternoon concert by CHIME participants in the main concert hall of the Musical Instrumental Museum Brussels, to conclude our 2009 conference in festive style. Be prepared for surprises, and don't hesitate to contribute to the surprise element yourself!


Exhibitions


The Musical Instruments Museum (MIM) will host an exhibition on Chinese musical instruments, illuminating a broad variety of urban and rural musical traditions. Since CHIME will be hosted by the MIM, concert participants will have ample opportunity to enjoy the displays. The Europalia Festival will host a total of some forty exhibitions devoted to China, including a presentation on folklore art, and numerous cultural exhibitions.

The Palais des Beaux-Arts (BOZAR) will host several major events, notably an exhibition devoted to Chinese emperors, and one devoted to Chinese literati life. One further exhibition that we would like to bring to your special attention will deal with Chinese puppetry, in all its aspects. We are promised a truly gorgeous display, with numerous interactive installations and live demonstrations. Since puppetry is also one of the major themes of the Europalia Festival (with five different groups from China participating), you can read more about this event below.

The world of Chinese puppetry, Bozar, November-December 2009
China may not have its own Pulcinella or Pinocchio, but it has the Monkey King: a magically gifted monkey who frightens the wits out of the Gods in Heaven by stealing the Peaches of Immortality, and eating them all! The Monkey King shares with his European counterparts not only a highly volatile character, or a rare combination of virtue, cleverness and naughtiness, but also ­ in the case of Pulcinella ­ many of his mystical and carnivalesque connotations. For people who love puppetry, China's miniature stages and shadow screens may soon have a homely feel!

Puppetry in China, as in so many parts of the world, emerged thousands of years ago as a magical theatre in the framework of religious observances. Its stories offer ample room for moralizing and ritual doctrine, but Chinese puppet plays are first and foremost packed with action. Many performers are great masters of their art, whose puppets execute the most incredible actions and acrobatic feats. Puppets dress or undress, smoke, drink wine, play musical instruments, dance and move like human beings... The gamut of Chinese puppet plays ­ like that of its bigger stage pendant, Chinese opera ­ runs from delicate lyrical drama to spectacular fighting scenes, from classical romance to slapstick. Most puppet plays are actually operas, with one or more singers and instrumental accompaniment, and countless regional genres and musical styles have emerged in the course of time in almost every part of China.

Puppetry frequently transcends the world of ordinary man, and explores the realms of the super-powerful, the supernatural, and the fantastic: in Chinese genres, we may run into the Goddess of the Moon, or meet a procession of musicking animal spirits, or watch the Eight Immortals at work, floating by on high clouds... A truly impressive wealth of different genres ­ from shadow theatre to marionette theatre, from stick and glove puppets to water puppets, from rod puppets to 'flesh' puppets ­ is matched by an equally impressive craftsmanship on the part of puppet makers and related craftsmen. The exquisitely carved wooden puppets from the National Arts Museum of China in this exhibition may serve as a case in point.

Chinese puppetry today flourishes in a great many different contexts, from rural rituals to modern urban stage entertainment, from TV animation to cyberspace games. If, in the last two centuries, China's turbulent history has seen an initial decline of many traditional forms, it has also witnessed many splendid revivals and new developments. New media now offer fierce competition to local puppet shows, but they have also given important impulses to the innovation of puppetry, as this rich exhibition will show. Fluorescent paint, laser light, computer-steered animation and a wide range of other new techniques are now used to guide (or misguide!) the spectator's eye.

In the meantime, many rural traditions in China continue to thrive beyond expectation, with their local ritual functions intact. This exhibition draws in particular on the local shadow puppetry of Huanxian, a barren region in eastern Gansu (West China), where more than forty shadow puppet troupes continue to be active today. With Chinese New Year, when fireworks are lit in this region¹s capital, it is nearly impossible to round any street corner of the small town without bumping into a shadow theatre performance! The delicate 'cowskin babies' ­ as they are lovingly called ­ of local Huanxian artisans are not only fine samples of craftsmanship, but are sometimes hardly any less fantastic or capricious than the paintings of Hieronymus Bosch or Hokusai.

Puppet groups performing in Belgium in the framework of Europalia are: the Marionette Theatre of Quanzhou, the Zhangzhou Handpuppet Theatre from Fujian, the Yangzhou hand and wire puppet ensemble from Jiangsu, the Tangshan Municipal Shadow Theatre Company, and the Daoist Shadow Theatre from Huanxian (Gansu).