The contention of a hundred schools of thought can play a strong role in promoting academic development. In the field of qin culture, as in other academic fields, there are many artistic viewpoints and playing styles. Qin culture itself is a very personalized art, and the styles of Qin artists from different regions and different teachers are different from each other. The effect of the qin on the human body, mind and spirit is actually a thousand rivers with water and a thousand moons, just like a person drinking water and knowing whether it is cold or warm. For the same piece, different pianists will have different understandings and form different styles. Even the styles of musicians in the same region and under the same teacher have their own characteristics but not the same. The musicians each follow some common views and styles of the piano, and form a certain group of piano players, which is the so-called piano school.

The Chinese guqin culture was once prosperous in history, with famous masters and prosperous factions. The formation of the qin school can be summarized into three main factors, namely: regional influence, influence from teachers and different genealogy. The so-called regional influence refers to the fact that piano players in the same region can easily find teachers and friends, and learn from each other in piano skills. Such mutual influence is easier to form a tacit understanding, to form the same or similar understanding and style, and finally to form a qin school.

The so-called influence of the teacher means that the outstanding qin experts, because of their profound attainments, are unique and are admired by the public, so that the qin people learn one after another. In this way, different teachers' inheritance systems have been formed. Qin players of the same master, following the teacher's teaching, often have the same or similar understanding of the piano and the style of playing, and eventually form a piano school. The so-called different scores mean that with the popularity of piano scores, different musicians study piano according to different scores. A pianist who learns the same score is more likely to form the same or similar understanding and style, and eventually form a school of piano.

Since the Tang Dynasty, the genre of qin studies has been recorded in records. As Zhao Yeli of the Sui and Tang Dynasties said: "Wu's voice is clear and graceful. If the Yangtze River flows widely and stretches slowly, it has the style of a national scholar. The voice of Shu is impatient and impatient, and if the surging waves rush to thunder, it is also a momentary handsome." In the Northern Song Dynasty, there were also capitals, Two schools of Zhejiang, Jiangxi, etc., and there is a recorded evaluation saying: "The capital is too strong, and Jiangnan is frivolous, but the quality of the two Zhejiang is not wild, and the literature is not historical." In the Ming Dynasty, the Jiangsu, Zhejiang, and Fujian schools also had great influence. As Liu Zhu of the Ming Dynasty said: "There are no one or two people who practice Fujian Cao, ten or three or four people who learn Jiang Cao, and ten or six or seven people who learn Zhejiang Cao." After the late Ming and early Qing dynasties, as for modern times, "Yu Cao" appeared one after another. Mountain, "Guangling", "Pucheng", "Fanchuan", "Jiuyi", "Zhucheng", "Mei'an", "Lingnan" and other famous piano schools. Although there are many guqin schools, some small schools only have influence in smaller areas, and only nine schools have influence all over the country and are widely recognized by the guqin circle.

The Zhejiang School was the most important qin school during the Song and Ming Dynasties. It originated in the Northern Song Dynasty and flourished in the Southern Song Dynasty. Since the beginning of the Northern Song Dynasty, the guqin was quite popular among the literati and doctors at that time. According to the different playing styles, teachers and aesthetic concepts of qin masters, different qin schools such as Jingshi, Jiangxi and Liangzhe emerged. During the Zhenghe period of the Northern Song Dynasty, Cheng Yuqi, a qin master, pointed out in his "Theory of Qin": "The capital is too strong, and Jiangxi loses its frivolity. Only the two Zhejiang are qualitative but not wild, and literary but not historical." This passage is the difference between the northern and southern Qin schools. The style is summarized, in particular, it affirms the influence of the two Zhejiang piano schools in the piano circle at that time. The Zhejiang style refers to the strength and weakness of the fingers, without being sloppy. The left fingering fluctuates with the music, unrestrained, mellow and pays attention to timbre. The fingering is based on the ancient method and the principle of smooth fingering, forming the characteristics of delicate and vigorous, clean and upright! In the Ming Dynasty, the Zhejiang School inherited the tradition of the Zhejiang School of Qin study since the Song and Yuan Dynasties, and absorbed the strengths of other schools and made new developments. In particular, it is represented by Xu Hezhong, a qin master from Siming, Zhejiang (now Ningbo). At that time, the school was famous for having many famous qin masters and publishing more qin scores, so that it reached the situation of "there are many qin masters, and if you meet each other and ask them what kind of school they learn, it is probably called Xu school".

The Yushan Qin School originated in Changshu and Taicang, Jiangsu, and was formed in the Jiajing and Wanli years of the Ming Dynasty. It is represented by Yan Chen (named Tianchi). , as the mainstay". As the most influential guqin school in the Ming and Qing Dynasties, the Yushan qin school has a long history in its inheritance of qin learning. Judging from the style of its qin music, it can be traced back to "Wu Sheng Qing Wan" in the early Tang Dynasty, and recently inherited the qin learning tradition of "Zhejiang School Xu Men" during the Song and Ming Dynasties. Influenced by folk pianists. In terms of aesthetics, the Yushan Qin School advocates the light and elegant, broad and peaceful style of the piano. Before the emergence of the Yushan Qin School, shoddy sheet music was flooding the market, and some piano players were keen to fill in the words by sound, or dub some poems that were not musical. Yan Tianchi spared no effort to criticize this phenomenon. He advocated the "clean and light" style of the piano, which played a role in clearing the source of the original and correcting the prevailing cliché in the piano world. Due to Yan Tianchi's vigorous voice and efforts to overcome the current disadvantages, the qin style of "purity and lightness" has become the spiritual symbol of the Yushan qin school.

The Guangling Qin School originated in the Kangxi period of the Qing Dynasty and was founded in Yangzhou by Xu Changyu, a master of the first generation of Guqin. His second son is still working on playing the qin, and is also known as "Er Xu in Jiangnan", "with string and corner art, four towers fall down", Emperor Kangxi has twice summoned him in "Changchun Courtyard", which is in the ascendant. "Chengjiantang Piano Score" written by Xu's father and son is the earliest piano score of Guangling School. " and Seng Yunxian's "Withered Wood Zen Piano Score" are collectively known as the five major piano scores of the Guangling Qin School. The Guangling School is based on the lightness and elegance of the Yushan School, and then incorporates the subtlety and subtlety of the Wu School, the cadence of the Jinling School, the boldness and boldness of the Shu School, and the ancient and strictness of the Zhongzhou School. The style provides an excellent example for the inheritance and development of Guqin music.

The Pucheng School is a guqin school that emerged in Pucheng, Fujian in the late Qing Dynasty, also known as the Fujian School. The founder Zhu Fengjie was born in a family of qin scholars, and compiled "Yuguzhai Qinpu" and "Yuguzhai Qinpu Supplements". These two works almost talked about all aspects of the theory of qin science, among which the score for guqin music The analysis of several aspects, such as music making, performance, musical aesthetics, and educational inheritance, is quite unique. Zhu Fengjie has been engaged in the research and inheritance of the guqin. He has extensively collected piano scores, and has collected more than 30 score collections published in the Ming and Qing dynasties. In the field of piano music education, he raised the issue of "giving and receiving piano contracts", which is characteristic of the times, and criticized the commercialized piano teaching behavior at that time. He believes that the education of qin music is not "playing words with art", but "harmony with words". From the perspective of traditional qin learning thought, he denounced the practice of "calculating and discussing money", believing that it goes against the spirit and essence of guqin music. This has implications for Guqin teaching activities in today's society, which are completely dominated by "consideration funds". Another important qin master of the Pucheng School, Zhang He, was a Taoist priest in the Yuqing Palace in Shanghai. He was good at poetry, calligraphy, qin, and painting. He added Zhu's biography and Gongchi notation, and adopted the commentary from "Yuguzhai Qinpu" as "Introduction to Qin Studies". He collected 20 pieces. It was first published in the third year of Tongzhi (1864), and two more The second edition is a popular introductory qin book since modern times, and it has a great influence.

The Shushan School (Chuan School) has a long history, with a history of at least 2,000 years. It is the most representative, widely circulated and richest Guqin school in China today. The famous scholars of the Shushan Qin School in the Han Dynasty included: Sima Xiangru, Yang Xiong, Zhuge Liang, Jiang Wei, etc. The well-known qinists of the modern Sichuan school include: Zhang Kongshan, Yang Zidong, Li Zizhao, Wu Bianyang, Longqinfang and others. "Tianwenge Qinpu" and "Shayan Qinbian" include works of Sichuan style, among which "Flowing Water" and "Drunken Fisherman Singing Evening" are the most popular. Gu Meigeng, a famous Sichuan-style guqin performer and educator in my country, has devoted his life to the discovery, arrangement, research and performance of guqin art with outstanding achievements. He translated the minus-character notation into simple notation and added it under the minus-character notation, and completed the revision and arrangement of the book "Preparation for Qin Learning" with more than 300,000 words. The Shu style Guqin not only has a long history, but also has its unique artistic charm. Its most essential features can be summed up in eight words: steady and unpretentious, unpretentious. Although the Shu-style guqin also has the characteristics of "impatient", it does not cover all the repertoires.

The Shandong Zhucheng Qin School emerged in the early 19th century and has a history of nearly 200 years. At present, the earliest qin master of this school, Mr. Mao Shixun (word "Bo Yu and Qi Zi", about 1775-1884) in Licheng (now Jinan) during the Jiaqing period of the Qing Dynasty, copied his manuscript "Longyin Guan Qin Pu". The eight pieces are the ancestral scores of the Zhucheng School. This score was originally collected by Dutch sinologist Gao Luopei, and is now in the library of Leiden University in the Netherlands. According to the information currently available, Zhucheng Guqin originated from two qin masters, Wang Puchang and Wang Yumen of the "Yushan School" and the "Jinling School" respectively. Due to their different teachers, they were naturally divided into two parts in Zhucheng. Tribe. In the teaching process of these two guqin masters, with the continuous exploration, exchange, absorption and development of each other, they also absorbed Shandong folk music. After twelve years, they merged and integrated the north and the south, thus gradually forming a city with the characteristics of Zhucheng, The style, technique and unique repertoire of the guqin school is a unique guqin art school in the modern Chinese qin world, known as one of the famous Chinese qin schools. The artistic style of Zhucheng Qin School is generally characterized as follows: rigid in the middle, sparse in the dense, empty in the real, flowing in one flow, heavy but not stagnant, not only characterized by beautiful and deep music, but also with the beauty of ethereal echo. Tight and continuous, the cycle is superfluous, the wind is wind and clouds, and the rhythm is decorated with stars.

The founder of the Lingnan School was Huang Jingxing, a native of Xinhui in Guangdong during the Daoguang period of the Qing Dynasty. He learned the art of qin from his father and brother Huang Guanjiong. Due to repeated failures in official examinations and living in poverty, he had to play the qin for fun. In his later years, he lived in Guangzhou, and organized a piano club with Chen Qishi and others to exchange piano skills. The main works of the Lingnan School of musical scores and qin studies include Huang Jingxing's "Wu Xue Shan Fang Qin Pu", which has a great influence on the later generations of Lingnan qin studies. The style of the Lingnan School is clear and elegant, and the playing techniques of many qin pieces are very different from those of other schools. For example, "Ou Lu Forgetting Machine" and other versions and genres are simply different songs with the same name. The playing style of such pieces as "Jian Liuquan" fully reflects the simplicity, sturdiness, cheerfulness and liveliness of the Lingnan Qin School.

The development of modern communication technology, convenient transportation, and the development of text and audio-visual materials have provided modern qinists with convenient learning conditions, enabling them to widely seek famous teachers and study qin studies. Therefore, in the field of modern qin culture, various qin schools can communicate with each other, integrate with each other, and learn from each other's strengths. Therefore, many modern pianists can absorb the strengths of many schools and form their own independent and distinctive styles.