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Abstract
The dissertation focusses on a contemporary Qin musical school and its founder, Wu Jinglue, with ethnomusicological perspectives.
The Qin is one of the oldest plucked musical instruments in China. As a cultural symbol there are writings dealing with it, but why is it so difficult that researchers can hardly prove the quintessence of the music as described in its literature, because of the lack of analytic methodology and also the lack of the understanding of the music. These are the emphases that the author contemplates into and strives for.
The subject matter pertaining to the author's own family tradition in terms of identifying his father's performance practice gives priorities of the original quality in describing subtle details and summoning up theoretical issues.
General meaning and applying value are also considered of these aspects introducing the history of the Qin and its music, the Chinese pentatonic scale, the structure of Qin music, the existing Qin schools and standard transcriptions.
The author's name is Wu Wenguang, born in 1946, who is a teacher at the Conservatory of Chinese Music in Beijing, China.
