The development of the new era has also triggered the evolution of the traditional guzheng genre. As the main member of the big family of Chinese national musical instruments, "Zheng" has always won people's reputation for being simple, elegant, dignified and affectionate.

It has triggered the evolution of traditional guzheng schools and reflects the first aspect: the changes in the talent training specifications and zheng art transfer models in music art colleges, coupled with the convenience and frequency of mutual observation and communication in the zheng music industry, for the mutual learning and absorption of different guzheng schools, The fusion of different performance techniques has opened up an unprecedented space. Although introduced by a teacher from a certain school, they are good at eclecticism and learn from others' strong points, which has become a common feature of the growth of a new generation of guzheng talents after liberation. While the traditional guzheng playing techniques continue to break through and enrich, it also weakens the boundaries between different guzheng genres.

The second aspect that led to the evolution of the traditional guzheng school: if the representatives of the traditional guzheng school almost without exception integrate performance, art transmission and creation, then after the founding of new China, this "three-in-one" guzheng The genre began to change. In the pattern of modern music culture, with the more and more detailed artistic division of labor and the need for innovation in zheng music, zheng music, as a challenging artistic field for the creation of national instrumental music, has attracted more and more attention of composers. Many composers have made pioneering efforts in this field, making the ancient art variety of zheng music bear new fruits. The works of composers such as Li Huanzhi, Wang Shu, Rao Yuyan, He Zhanhao, Yang Jieming, Lei Yusheng, Yao Shengchang, Wang Jianmin, Xu Xiaolin, Zhuang Yao, Zhou Yuguo, Ye Xiaogang, etc., have become widely played on the zheng music stage. These zheng works written by the composers, in addition to trying their best to maintain and exert the traditional performance techniques of zheng music, also boldly borrow western composition techniques, introduce the writing texture and performance skills of multi-voice instruments such as piano and harp, and expand the modes of traditional zheng music. The scale system greatly enriches the artistic expression of Guzheng. Even new works created by guzheng players alone or in collaboration with composers, the musical materials and performance techniques have incorporated many new elements of expression, and their artistic styles and tastes are far from being limited and covered by a traditional genre.

Three aspects are reflected in the transmutation of the traditional guzheng genre: traditional zheng music is mainly spread among the people. Before the popularization of new schools and the representatives of various zheng music schools were not hired to teach in music and art schools, they were all conducted among the people or in the civil society. But in the pattern of modern music culture, music is the occupation of some people, and the distinction between professional work and hobby is becoming more and more clear. In this cultural pattern, the concept of "folk" is mostly replaced by the concept of "amateur", and the focus of activities of different genres of zheng music is naturally in the circle of "professional" - various music art schools and some art performances in the group. The changes in the survival and reproduction environment of different zheng music genres and the cultural identities of their representatives make people have to make new thinking about the original orientation of "the vitality of zheng music is in the folk".

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