Guqin notation has great relativity in the prompting method of rhythm and timing function. Behind this phenomenon, there is essentially a specific musical spirit, specific artistic thinking and specific cultural composition mode. It is these spirits, thoughts and patterns that have created this characteristic of the guqin notation.

1. A certain environment will, to a large extent, determine the characteristics of the things that live in that environment. For thousands of years, the guqin has lived, existed, prospered and indulged in the Chinese scholar-official class and literati society. In such an environment, the guqin is deeply permeated with the spirit of Chinese literati and local doctors. Deeply contains the ideology and conscious interest of this social range and class.

In the psychological structure of Chinese literati and doctors, the most fascinating thing is the detached state of mind through the use of objects. From a macro perspective, for the scholar-officials, nature is not only an external image, but also an inner illusion; it is not only a relied on to get rid of self-unbalanced psychology, but also an object for self-reflection of inner feelings. This not only through the observation and experience of external things, but also in this observation and experience to achieve the identity of the object and the self, so that the inner world and the external object image are integrated, and the beautiful feelings are combined with the beautiful object image to obtain spiritual pleasure.

Specifically, Chinese literati and doctors found one of the most suitable sustenances for this kind of freedom in the guqin. As a result, the situation of "Scholars must drum the qin" and "Qin must be used by scholars" has been formed. A mature guqin can be said to bring together the ethereal, tranquil, clear, and deep, subtle, and solemn sound and hearing sense, coupled with the deep, calm, noble, and elegant dark brown objects with a very visual sense, it has become an energy source. It concentrates, condenses, and concentrates the kind of free, leisurely and indifferent utensils pursued by literati and doctors.

2. The guqin that grows up in this specific environment and specific spirit determines the characteristics of the music it expresses. Because "music, as a man's spiritual activity, is a manifestation of man's certain attitude towards reality".

Therefore, Guqin music emphasizes "focusing on pride". Playing the qin "strings and fingers, fingers and sound, and sound and meaning" are important, but first of all there should be "meaning", because "the sound follows the meaning, the meaning follows the sound, and the sound follows the meaning", even if "the sound of the string follows the meaning". The meaning is continuous." The so-called "meaning" means "if there is insufficient in the string of seeking, there will be surplus outside the string."

Obviously, the aesthetic purpose of guqin music does not lie in the music itself, it should embody a certain spirit outside the music, so "music is not in the sound", "excitement is not in the sound", only "the drummer's heart is beyond things", Only then can we achieve "knowing its meaning and knowing its interest, knowing its interest and knowing its pleasure".

Under this aesthetic purpose, Guqin music has produced a series of aesthetic categories: "harmony, elegance, clarity, roundness, firmness, distance, affection"; "light, loose, crisp, smooth, high, clean, empty, secluded , odd, ancient, Dan, Zhong, Harmony, Ji, Xu"; "Harmony, Quiet, Qing, Yuan, Ancient, Dan, Tian, Yi, Elegant, Beautiful, Bright, Cai, Clean, Run, Round, Strong, Macro , fine, slippery, healthy, light, heavy, late, fast".

The pondering, tasting, comprehension, and comprehension between sound and meaning are not vain pursuits like castles in the air. They clarify the aesthetic purpose, define the aesthetic category, and establish performance guidelines.

Su Jing's "Eight Principles of Guqin" said that playing the qin requires affection, composing songs, adjusting the rhythm, adjusting the breath, refining the bones, picking the sound, clarifying the spectrum, and distinguishing the school; "; Jiang Wenxun's "Qin Xue Quan Yan" analyzed that there are three key points in playing the right hand of the piano: ideas, weight, and gestures; there are also three good points for the left hand: chanting, Zhuozhu, and up and down.

However, all of this, all of all, the center of the center, is primarily in the mind. With "meaning", there is all this, and all this is for the sake of "meaning". So what's behind this "meaning"?

The ancients have already explained, "The heart is the Tao. The qin is the utensil. The Tao can be fixed on the utensil" (Zhu Changwen); ); as long as the player understands the aesthetic purpose, the aesthetic category, and the performance criteria, they can achieve "the harmony of words" (Zhu Fengjie's words) and "meeting with the Tao" (Yang Biaozheng).

Playing the qin is to choose the sound, to take the sound is to achieve music, to achieve music is to be proud, and to be proud is to generate emotion, and the more important thing is to lead to the realm of "Tao". This is: qin and utensils are those that are sublime; and "Dao" is that that is metaphysical!

3. The form of any thing is determined by the thought that constitutes the form. What kind of thought has what kind of form.

The spiritual thoughts of Chinese literati and the aesthetic taste of Guqin music determine the function of Guqin notation. Sexuality is precisely the "meaning" that it seeks to express such people, emotions, circumstances, music, and sounds.

It adapts to the aesthetic idea of obtaining "Yi" and then sublimating it into "Dao": "Those who do not have a qin score may be deified because of their stubbornness" (Zhu Fengjiao); The above book” (Jiang Wenxun’s words), can get the “meaning”; the qin “the way is small, the traces are thick, and it is not enough for the wonderfulness of the way” (Xiao Wan); Heart" (Zhu Fengxiao).

However, "the score can be passed on, but the magic of the mind cannot be passed on" (Huanglongshan dialect). Therefore, many qin theorists criticized at that time "the people who made the qin according to the score, led the mud and traces but did not reach their gods, attacked their sounds and Mo is extremely interesting, and the way of the qin is almost desolate.” “Modern scholars specialize in shouting, or they only follow the notation of books.

Even Zhang He, a pioneer who attached the guqin score to the Gongqi score to show that the rhythm was "precise" and "strict", in his "Fan Cases" in "Introduction to Qin Studies", he also explained it clearly: " Gaiqin music has a natural rhythm, and if it is not in season, it must be restricted to the rhythm, but it should be understood in the heart." Once you are familiar with the music, you "don't have to be restricted to this."

So far, we can answer the question raised in this paper: Guqin score does not indicate precise and strict rhythm, it is "do not do" rather than "can't"; this feature is not a defect, but itself is complete. Only in this kind of "relativity" notation can the art of guqin show a variety of styles and leave a wider space for free and rich music to soar.

It is in this limited space that Chinese scholar-officials have placed infinite emotions, infinite thoughts, and infinite moods. Between these flexible rhythm shifts, between loosely quantitative rhythm stretches, and between non-rigid vocabularies and sentences, they each have their own different experiences of "Chuozhuyinyou", different "joking" The feeling of "up and down" leads to the realization of the inaudible, invisible, ineffable, and unnamed "intelligence" and the realm of "Dao".

2. The guqin that grows up in this specific environment and specific spirit determines the characteristics of the music it expresses. Because "music, as a man's spiritual activity, is a manifestation of man's certain attitude towards reality".

Therefore, Guqin music emphasizes "focusing on pride". Playing the qin "strings and fingers, fingers and sound, and sound and meaning" are important, but first of all there should be "meaning", because "the sound follows the meaning, the meaning follows the sound, and the sound follows the meaning", even if "the sound of the string follows the meaning". The meaning is continuous." The so-called "meaning" means "if there is insufficient in the string of seeking, there will be surplus outside the string."

Obviously, the aesthetic purpose of guqin music does not lie in the music itself, it should embody a certain spirit outside the music, so "music is not in the sound", "excitement is not in the sound", only "the drummer's heart is beyond things", Only then can we achieve "knowing its meaning and knowing its interest, knowing its interest and knowing its pleasure".

Under this aesthetic purpose, Guqin music has produced a series of aesthetic categories: "harmony, elegance, clarity, roundness, firmness, distance, affection"; "light, loose, crisp, smooth, high, clean, empty, secluded , odd, ancient, Dan, Zhong, Harmony, Ji, Xu"; "Harmony, Quiet, Qing, Yuan, Ancient, Dan, Tian, Yi, Elegant, Beautiful, Bright, Cai, Clean, Run, Round, Strong, Macro , fine, slippery, healthy, light, heavy, late, fast".

The pondering, tasting, comprehension, and comprehension between sound and meaning are not vain pursuits like castles in the air. They clarify the aesthetic purpose, define the aesthetic category, and establish performance guidelines.

Su Jing's "Eight Principles of Guqin" said that playing the qin requires affection, composing songs, adjusting the rhythm, adjusting the breath, refining the bones, picking the sound, clarifying the spectrum, and distinguishing the school; "; Jiang Wenxun's "Qin Xue Quan Yan" analyzed that there are three key points in playing the right hand of the piano: ideas, weight, and gestures; there are also three good points for the left hand: chanting, Zhuozhu, and up and down.

However, all of this, all of all, the center of the center, is primarily in the mind. With "meaning", there is all this, and all this is for the sake of "meaning". So what's behind this "meaning"?

The ancients have already explained, "The heart is the Tao. The qin is the utensil. The Tao can be fixed on the utensil" (Zhu Changwen); ); as long as the player understands the aesthetic purpose, the aesthetic category, and the performance criteria, they can achieve "the harmony of words" (Zhu Fengjie's words) and "meeting with the Tao" (Yang Biaozheng).

Playing the qin is to choose the sound, to take the sound is to achieve music, to achieve music is to be proud, and to be proud is to generate emotion, and the more important thing is to lead to the realm of "Tao". This is: qin and utensils are those that are sublime; and "Dao" is that that is metaphysical!

3. The form of any thing is determined by the thought that constitutes the form. What kind of thought has what kind of form.

The spiritual thoughts of Chinese literati and the aesthetic taste of Guqin music determine the function of Guqin notation. Sexuality is precisely the "meaning" that it seeks to express such people, emotions, circumstances, music, and sounds.

It adapts to the aesthetic idea of obtaining "Yi" and then sublimating it into "Dao": "Those who do not have a qin score may be deified because of their stubbornness" (Zhu Fengjiao); The above book” (Jiang Wenxun’s words), can get the “meaning”; the qin “the way is small, the traces are thick, and it is not enough for the wonderfulness of the way” (Xiao Wan); Heart" (Zhu Fengxiao).

However, "the score can be passed on, but the magic of the mind cannot be passed on" (Huanglongshan dialect). Therefore, many qin theorists criticized at that time "the people who made the qin according to the score, led the mud and traces but did not reach their gods, attacked their sounds and Mo is extremely interesting, and the way of the qin is almost desolate.” “Modern scholars specialize in shouting, or they only follow the notation of books.

Even Zhang He, a pioneer who attached the guqin score to the Gongqi score to show that the rhythm was "precise" and "strict", in his "Fan Cases" in "Introduction to Qin Studies", he also explained it clearly: " Gaiqin music has a natural rhythm, and if it is not in season, it must be restricted to the rhythm, but it should be understood in the heart." Once you are familiar with the music, you "don't have to be restricted to this."

So far, we can answer the question raised in this paper: Guqin score does not indicate precise and strict rhythm, it is "do not do" rather than "can't"; this feature is not a defect, but itself is complete. Only in this kind of "relativity" notation can the art of guqin show a variety of styles and leave a wider space for free and rich music to soar.

It is in this limited space that Chinese scholar-officials have placed infinite emotions, infinite thoughts, and infinite moods. Between these flexible rhythm shifts, between loosely quantitative rhythm stretches, and between non-rigid vocabularies and sentences, they each have their own different experiences of "Chuozhuyinyou", different "joking" The feeling of "up and down" leads to the realization of the inaudible, invisible, ineffable, and unnamed "intelligence" and the realm of "Dao".