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Guqin aesthetics
When the guqin is played, the modern name for a plucked seven-string Chinese musical instrument of the zither family, a number of aesthetic elements are involved.
==Aesthetics==
The first aesthetic is musicality. In the second section of "Pingsha Luoyan", for example, the initial few bars contain a ''nao'' vibrato followed by a phase of sliding up and down the string, even when the sound has already become inaudible . The average person trained in music may question whether this is really "music". Normally, some players would pluck the string very lightly to create a very quiet sound. For some players, this plucking isn't necessary. Instead of trying to force a sound out of the string one should allow the natural sounds emit from the strings. Some players say that the sliding on the string even when the sound has disappeared is a distinctive feature in qin music. It creates a "space" or "void" in a piece, playing without playing, sound without sound. In fact, when the viewer looks at the player sliding on the string without sounds, the viewer automatically "fills in the notes" with their minds. This creates a connection between player, instrument and listener. This, of course, cannot happen when listening to a recording, as one cannot see the performer. It can also be seen as impractical in recording, as the player would want to convey sound as much as possible towards a third audience. But in fact, there is sound, the sound coming from the fingers sliding on the string. With a really good qin, silk strings, and a perfectly quiet environment, all the tones can be sounded. And since the music is more player oriented than listener oriented, and the player knows the music, he/she can hear it even if the sound is not there. And with silk strings the sliding sound might be called the qi or "life force" of the music. The really empty sounds are the pauses between notes. However, if one cannot create a sound that can be heard when sliding on a string, it is generally acceptable to lightly pluck the string to create a very quiet sound.
In the music of the qin, we often come across (especially in harmonics) the use of the same note to two different strings. A good example of this would be in the main harmonic sections of "Meihua Sannong", where at the last three notes of the first two phrases all play sol (first sol on the sixth string at 7th hui, second on third string at 9th hui, then again on the sixth string at 7th hui) . The question would be why does one need to play the sol on the third string when one can play sol thrice on the sixth string. One reason is timbre; although both these two positions sound the same note, they sound different or have a different quality to them. Another reason is to add flavor during performance. We have other examples, like the first two phrases of ''Shenren Chang'', where the playing of the harmonics is on the left of the qin on the first phrase, then the same notes are played on the right of the qin. This adds symmetry to the play, and we often see this in many qin melodies where the same notes are mimicked in a different way.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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