Seven-stringed musical instrument, the Guqin represents China's foremost solo musical instrument tradition. It is described in early literary sources, and it is corroborated by archaeological finds. Legend has it that legendary figures of Chinese pre-history such as Fuxi, Shennong, and Huang Di, the "Yellow Emperor" were involved in its creation. Nearly all Qin books and tablature collections published before the twentieth-century mention that this was the actual origins of the Qin, although this has been viewed as mythology. The instrument has appeared in Chinese writings and has been found in tombs from nearly 3,000 years ago. The origins of the Qin have been the subject of debate for many decades. Traditionally, the instrument was referred to simply as the Qin, but this term was also applied to many other musical instruments by the twentieth century.
In ancient China, the Guqin was an elite art form, primarily performed by noblemen and scholars in intimate settings. The Guqin was a part of the four arts that Chinese scholars were expected to master, along with calligraphy, painting, and an ancient form of chess. According to tradition, twenty years of training were required to master the Guqin. The instrument has seven strings and thirteen marked pitch positions. Approximately ten different ways can be used to attach the strings, giving players a range of four octaves. The three basic techniques are known as san (open string), a (stopped string), and fan (harmonics). San involves the picking of open strings individually or in groups, which produce strong and clear sounds for significant notes. To play fan, the left-hand touch the strings in positions determined by inlaid markers to create the harmonics. Similarly, the right hand plucks, creating a light floating overtone. The an is played with both hands, while a left-hand finger presses firmly on the string and may slide between various notes or produce a variety of ornaments and vibratos.
Currently, less than one thousand Guqin players are well-trained. There are fewer than fifty living masters of the instrument, and the original repertory of thousands of compositions has drastically shrunk to a mere hundred pieces performed regularly today. Guqin music has been referred to as the essence of aestheticism and philosophy in China. In 2003, the Guqin was inscribed within the UNESCO Oral and Intangible Heritage of Humanity. Guqin playing has been revived after years of decay and oblivion. More Guqin associations are being set up, and the number of people learning to play the instrument is increasing. With 200,000 people learning the instrument since 2003, the number is still growing.
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