The Inheritance of Literary Properties of Qin Music in Taiwan

• Main Authors: Hsiang-Ling Yang, 楊湘玲
• Other Authors: 王美珠
• Format: Others
• Language: zh-TW
• Published: 2011
• Online Access: http://ndltd.ncl.edu.tw/handle/n6s6c4

博士 === 國立臺北藝術大學 === 音樂學系博士班 === 99 === This dissertation explores the activities of qin(Guqin, seven-stringed zither) players in Taiwan since Qing Dynasty to the first generation after World War II. The inheritance of repertory, musical style, cultural characteristics and ideology of qin music are traced through historical documents. These various phenomena could be summarized and highlighted as an inheritance of literary tradition emerged from the life values and aesthetic tastes of traditional Chinese literati. First, we take an overview of the literary properties embedded in qin music culture. Qin is a symbol of virtue and good taste of the literati, and plays an important role in literary leisure life. Qin music also has great intertextuality with traditional literature and fine arts, and bears the same aesthetic values, including that originated from Confucianism and Taoism. Then, we examine the activities of qin players in Taiwan, in Qing Dynasty, Japanese colonial period, and post-war period dominated by KMT, respectively. We find that the qin players in Taiwan carried on the literary properties quite obviously, in spite of the changes in social, political and cultural environments. Most of them kept several kinds of literary interests and abilities, such as poetry, painting, and calligraphy. The ideology and aesthetics of qin music also spread among these literary art fields into Taiwanese literati circle. As to the musical lineage of Taiwanese qin players before 1945, two anthologies of qin music and other historical materials show the influences of local tradition of south-Fukien and Guang Ling School. In post-war period, although the schools of qin music were somewhat mixed, the qin players sought to re-establish the lineage by collecting, editing and publishing qin anthologies. In order to make qin music inherited and revived in the modern society, the qin players held public performances and exhibitions, and published essays on qin. In these activities, a new form of traditional literary properties was created.