 New compositions and reconstructions (dapu) for the qin by TSE Chun-Yan | 
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List of Publications
Abstract:
The notation of the guqin tablature before Dahuange Qinpu (1673) has not started to use the proportional decimal system yet. The stopped notes between two hui(s) were notated by a non-exact system. For example, "eight-nine" represented the note between the eighth hui and the ninth hui. For stopped notes notated by single hui(s), if one follows the exact position of the hui, no matter whether one uses the cycle of fifths tuning or just tuning for the open strings, according to the analysis in this paper, an undesirable mixed tuning would result. Therefore, notation of stopped notes by single hui(s) could also be non-exact. One may adjust the stopped position slightly higher or lower depending on the tuning. Then, the Ming Dynasty tuning methodology using single hui stopped notes should not be used as an evidence for or against the use of just tuning system in guqin music. Also, when one plays the Ming Dynasty scores, the pitch of the stopped notes outside the pentatonic scale may be treated more flexibly to suit the expression of the music.
Abstract:
Qin, the musical instrument of the Chinese literati, is characterized by its subtle expressiveness. There is often a gradual acceleration of the tempo which is considered inconspicuous by insiders. To validate this inconspicuousness, a comparative perceptive study was done in an undergraduate music class. The students' impression on acceleration and their ability to identify correctly the tempo change of a section of a traditional qin piece and a traditional zheng piece (as control) were compared. Both pieces nearly doubled the tempo in the one minute section. Out of 16 students, 5 and 14 noted some acceleration, and 1 and 7 students measured the tempo change correctly, for the qin and zheng piece respectively (p value 0.004 and 0.07 respectively). The relative inconspicuousness of the acceleration in the qin piece is thus demonstrated. The psychoacoustic features of the inconspicuousness, the generalizability of the finding, and the aesthetic implications are analyzed.