Guzheng: Difference between revisions

The guzheng is ancestral to several other Asian zithers such as the Japanese [[Koto (musical instrument)|koto]],<ref>{{cite book|last=Deal|first=William E.|title=Handbook to life in medieval and early modern Japan|year=2006|publisher=Infobase Publishing|location=New York|isbn=0-8160-5622-6|pages=266–267|url=https://books.google.com/books?id=OKr3XPabVQIC}}</ref><ref name=chime/><ref name=howard/> the Korean [[gayageum]] and [[ajaeng]],<ref name=chime/><ref name=howard>{{cite book|last=Howard|first=Keith|title=Korean musical instruments|year=1995|publisher=Oxford University Press|isbn=978-0-19-586177-8|pages=[https://archive.org/details/koreanmusicalins00howa/page/38 38]|quote=The kayagum, the most popular South Korean instrument, is a 12-string half-tube plucked zither (H/S 312.22.5) (Plate 7). It resembles the Chinese zheng, Mongolian yatga, Japanese koto, and Vietnamese dan tranh. All these instruments descend from a common model, the ancient zheng.|url-access=registration|url=https://archive.org/details/koreanmusicalins00howa/page/38}}</ref> Mongolian [[yatga]],<ref name=howard/> the Vietnamese [[đàn tranh]],<ref name=chime>{{cite journal|title=Hugo's window on the world of Chinese zheng|journal=Chime|year=2005|volume=16–17|pages=242|publisher=European Foundation for Chinese Music Research|location=Leiden|quote=Throughout the centuries, the zheng became the parent instrument of the Asian zither family as it spread from China to a number of adjacent countries giving birth to the Japanese koto, the Korean kayagum and the Vietnamese dan tranh.}}</ref><ref name=howard/> the [[Sundanese people|Sundanese]] [[kacapi]],{{factcitation needed|date=April 2022}} and the [[Kazakhstan]] [[jetigen]].{{factcitation needed|date=April 2022}} The guzheng should not be confused with the [[guqin]], a Chinese zither with seven strings played without moveable bridges.<ref>{{factCite thesis |title=Guqin and Guzheng: the historical and contemporary development of two Chinese musical instruments |url=http://etheses.dur.ac.uk/4894/ |publisher=Durham University |date=April1996 2022|degree=Masters |first=Harriet Rosemary Ann |last=Gaywood}}</ref>

The guzheng has gone throughundergone many changes during its long history. The oldest specimen yet discovered held 13 strings and was dated to possibly during the [[Warring States period]] (475–221 BCE).<ref name="Smithsonian">{{cite book |last1=So |first1=Jenny |title=Music in the Age of Confucious |date=2000 |publisher=Smithsonian Institution |location=Washington D.C. |isbn=0-295-97953-4 |pages=152|url=https://archive.org/details/musicinageofconf00soje}}</ref> The guzheng became prominent during the Qin dynasty (221–206 BCE). By the Tang Dynasty (618–907 CE), the guzheng was perhaps the most commonly played instrument in China.<ref name=sound/> The guzheng is played throughout all of China with a variety of different techniques, depending on the region of China and the time period. It has a light timbre, broad range, rich performance skills, and strong expressive power, and it has been deeply loved by many Chinese people throughout history.<ref>{{Cite journal|title=Zithers of East Asia: Extension of Silk Strings and Diversity of Sounds (Video Review)|journal=Yearbook for Traditional Music|volume=40|pages=207–208, 221|jstor=20465106}}</ref>

=={{anchor|Origin}}Origin==

The guzheng has various accounts for its origin. An early guzheng-like instrument is said to have been invented by [[Meng Tian]],<ref name=sound>{{cite web|url=http://www.newzealandpostgraduate.com/inspiration/stories/the-sound-of-history/|title=The Sound of History|archive-url=https://web.archive.org/web/20121118041548/http://www.newzealandpostgraduate.com/inspiration/stories/the-sound-of-history|archive-date=2012-11-18}}</ref> a general of the Qin dynasty (221–206 BCE), largely influenced by the [[se (instrument)|se]].<ref name=Sharron>{{cite book|title=A Cultural History of the Chinese Language|author=Sharron Gu|publisher=[[McFarland & Company]]|year=2011|isbn=978-0-7864-6649-8|page=14}}</ref> Some believe theThe guzheng was originally developed as a bamboo-[[tube zither]] as recorded in the ''[[Shuowen Jiezi]]'', which was later redesignedreplaced to be more like the [[se (instrument)|se]] and made fromby larger curved wooden boards andwith movable bridges.<ref>{{cite book | last=Kaufmann | first=Walter | author-link=Walter Kaufmann (composer) | title=Musical References in the Chinese Classics. Detroit Monographs in Musicology. | publisher=Harmonie Park Press | date=1976 | page=101 | quote=According to the Shuo Wen the cheng was a bamboo-tube zither. […] The bamboo tube eventually was replaced by a larger curved wooden board and while in one or two zither types fixed or movable bridges were used, the noble ch'in remained an unfretted instrument. Despite the fact that the cheng is not mentioned in the Classics, it is mentioned here because of its old age. The movable bridges which allowed variable tunings linked the cheng securely with popular music. It still exists side by side with the distinguished ch'in and se. Since the fourth or third centuries B.C. there existed another form of the se, a zither with five (to thirteen) strings, called chu (M 1375). The instrument is not mentioned in the Classics.}}</ref> A third legend says the guzheng came about when two people fought over a 25-string se. They broke it in half, one person receiving a 12-string part and another the 13-string part.<ref name="vanGulik">{{cite journal |last1=van Gulik |first1=R.H. |title=Brief Note on the Cheng, the Chinese Small Cither |journal=Toyo Ongaku Kenkyu : The Journal of the Society for the Research of Asiatic Music |volume=1951 |date=1951 |issue=9 |pages=10–25|doi=10.11446/toyoongakukenkyu1936.1951.en10 }}</ref>

Strings were once made of [[silk]]. During the Qing dynasty (1644–1912) the strings transitioned to only wires such as brass.<ref name="vanGulik" /> Modern strings are almost always [[steel]] coated in nylon. First introduced in the 1970s, these multi-material strings increased the instrument's volume while maintaining an acceptable [[timbre]].{{factcitation needed|date=April 2022}}

The guzheng is often decorated. Artists create unique cultural and artistic content on the instrument. Decorations include carved art, carved [[lacquer]], straw, [[Nacre|mother-of-pearl]] inlays, [[painting]], [[poetry]], [[calligraphy]], [[Seashell|shell]] carving ([[jade]]), and [[cloisonné]].{{factcitation needed|date=April 2022}}

The guzheng is plucked by the fingers with or without [[Plectrum|plectra]].<ref name="vanGulik" /> Interestingly, among the 21 strings of Guzheng, although no strings are specifically assigned to play F or B, those pitches can be produced by pressing E and A instead, respectively. Most modern players use plectra that are attached to up to four fingers on each hand. Ancient picks were made of mundane materials such as [[bamboo]], bone, and animal teeth or by finer materials such as [[ivory]], [[tortoiseshell]], and jade.<ref name="vanGulik" /><ref name=":02">{{Cite book|last=Wong|first=Samuel Shengmiao|title=Qi: An Instrumental Guide to the Chinese Orchestra|publisher=Teng|year=2005|isbn=9789810540128|location=Singapore|pages=69-8369–83}}</ref>

Many guzheng techniques have been borrowed from other instruments. For example, ''Lun'' is a borrowed technique. In ''Lun'', all five fingers pluck on a string to produce a tremolo sound similar to the [[Pipa]].<ref name=":113">{{Cite thesis|title=Historical and contemporary development of the Chinese zheng|url=https://open.library.ubc.ca/cIRcle/collections/ubctheses/831/items/1.0099591|publisher=University of British Columbia|date=2001|first=Mei|last=Han}}</ref>

Techniques can also vary in [[Northern China|Northern]] and [[Southern China]], producing different sounds and styles.{{factcitation needed|date=April 2022}}<ref>van Gulik, R.H. (1951). "Brief Note on the Cheng, the Chinese Small Cither". ''Toyo Ongaku Kenkyu : The Journal of the Society for the Research of Asiatic Music''. '''1951''' (9): 10–25. doi:10.11446/toyoongakukenkyu1936.1951.en10.</ref>

Northern styles include songs from the [[Shandong]] and [[Henan]] regional schools.{{factcitation needed|date=April 2022}}

According to [[Samuel Wong]], songs from Henan are fiery.<ref name=":02" /> Left hand slides and vibrato are used frequently and tremolo is done with the thumb.<ref name=":222">{{Cite thesis|title=The Development of the Modern Zheng in Taiwan and Singapore.|url=http://etheses.dur.ac.uk/11860/|publisher=Durham University|date=2003|degree=Doctoral|first=Shu Hui Daphne|last=Kao}}</ref><ref name=":3">{{Cite book|last=Han|first=Mei|url=http://worldcat.org/oclc/1033223795|title=The emergence of the Chinese zheng : traditional context, contemporary evolution, and cultural identity.|date=2013|publisher=University of British Columbia|oclc=1033223795}}</ref> Meanwhile, Shandong songs are "glamorous&nbsp;... melodic lines often rise and fall dramatically&nbsp;... Its music is characteristically light and refreshing.''”''<ref name=":02" /> Slide descending notes are not used as often as Henan.<ref name=":222" /> Glissandos are always on beat.<ref name=":02" />

Southern styles include [[Chaozhou]] and [[Kejia|Kejia (Hakka)]] regional styles. Another prominent school is the [[Zhejiang]] regional school in the southeast.{{factcitation needed|date=April 2022}}

[[Chaozhou]] and [[Hakka]] songs are similar but according to [[Han Mei|Mei Han]], “Hakka melodies are similar to but less highly embellished than those of the neighboring Chaozhou school.”<ref name=":1213">{{Cite thesis|title=Historical and contemporary development of the Chinese zheng|url=https://open.library.ubc.ca/cIRcle/collections/ubctheses/831/items/1.0099591|publisher=University of British Columbia|date=2001|first=Mei|last=Han}}</ref> Songs from Chaozhou use even less descending notes and [[glissando]] are [[free rhythm]]. Chaozhou songs have "irregular beats, and alternate between hard and soft taps on the strings."<ref name=":02" /> [[Zhejiang]] songs use technique similar to the Pipa. Frequent tremolo is used with left-hand glissando. Other techniques include ''sidian'', where 16th notes are played used thumb, index finger and middle finger in quick [[tempo]].<ref name=":32">{{Cite book|first=Mei|last=Han|url=http://worldcat.org/oclc/1033223795|title=The emergence of the Chinese zheng: traditional context, contemporary evolution, and cultural identity|date=2013|publisher=University of British Columbia|oclc=1033223795}}</ref>

The guzheng is played on a [[pentatonic scale]], with notes "[[Fa (musical note)|fa]]" and "[[Ti (musical note)|ti]]" being produced by bending the strings. The [[Scale (music)|scale]] can change with using [[Semitone|"flat", "natural" and "sharp"]] notes. Chaozhou songs use multiple scales, using both "flat" notes or both "natural" notes. The tone of the song can change based on the scale.<ref name=":1213" />

Newer techniques (especially since the 1950s) have included playing [[harmony]] and [[counterpoint]] with the left hand.<ref name=":13">{{Cite thesis|title=Historical and contemporary development of the Chinese zheng|url=https://open.library.ubc.ca/cIRcle/collections/ubctheses/831/items/1.0099591|publisher=University of British Columbia|date=2001|first=Mei|last=Han}}</ref>

Experimental, [[atonal]] pieces have been composed since the 1980s. For example, "Ming Mountain" (''Ming Shan'') and "Gloomy Fragrance" (''An Xiang'') are contemporary songs that do not use the traditional pentatonic scale.<ref name=":02"/><ref name=":22">{{Cite thesis|title=The Development of the Modern Zheng in Taiwan and Singapore.|url=http://etheses.dur.ac.uk/11860/|publisher=Durham University|date=2003|degree=Doctoral|first=Shu Hui Daphne|last=Kao}}</ref>

In 2021, Chinese/Australian guzheng composer and player [[Mindy Meng Wang]] collaborated with Australian [[electronic music]]ian [[Tim Shiel]], releasing a single, "Hidden Qi 隐.气", in February,<ref name=hiddenqi/> followed by an EP, ''Nervous Energy 一 触即发'', in March of that year.<ref>{{cite web | title=Tim Shiel & Mindy Meng Wang’sWang's new EP happens to be some of the best Australian electronic music released this year -| website=[[MTV]]|first= Josh| last=Martin | date=25 March 2021 | url=https://www.mtv.com.au/news/miw4sd/tim-shiel-mindy-meng-wang-nervous-energy-ep | access-date=2022-04-24 }}</ref><ref name=hiddenqi>{{cite web | last=Gallagher | first=Alex | title=Mindy Meng Wang and Tim Shiel share new single 'Hidden Qi 隐.气' | website=[[NME]] | date=26 February 2021 | url=https://www.nme.com/en_au/news/music/mindy-meng-wang-tim-shiel-share-new-single-hidden-qi-2889555 | access-date=2022-04-24 }}</ref> She has previously collaborated with British band [[Gorillaz]] and Australian band [[Regurgitator]], and intends to stay in Australia and continue to produce modern music.<ref name=ep>{{cite interview| interviewer-first= Zan| interviewer-last= Rowe| interviewer-link= Zan Rowe|first1 = Mindy Meng |last1=Wang |first2= Tim|last2= Shiel| title=Mindy Meng Wang 王萌 and Tim Shiel have released a collaborative EP | website=[[Double J (radio station)|Double J]]| format= Audio + text | date=18 Mar 2021 | url=https://www.abc.net.au/doublej/programs/mornings/double-j-mornings-zan-rowe-mindy-meng-wang-interview/13256858 | access-date=2022-04-24 | quote= I have been settled here for about five years. [Mindy Weng Wang]}}</ref>

Notable 21st-century Chinese ''guzheng'' players include Xiang Sihua, Wang Zhongshan, Chang Jing, Jing Xia, and Funa.{{citation needed|date=May 2017}} Although most ''guzheng'' music is [[Music of China|Chinese classical music]], the American composer [[Lou Harrison]] (1917–2003) played and composed for the instrument. Contemporary ''guzheng'' works have also been written by non-Chinese composers such as [[Halim El-Dabh]], [[Kevin Austin (composer)|Kevin Austin]], David Vayo, [[Simon Steen-Andersen]], and [[Jon Foreman]].{{factcitation needed|date=April 2022}}

Zhang Yan (张燕, 1945–1996) played the ''guzheng'', performing and recording with [[Asian American jazz]] bandleader [[Jon Jang]]. Other musicians playing in non-traditional styles include [[Wu Fei]], [[Xu Fengxia]], [[Randy Raine-Reusch]], Mohamed Faizal b. Mohamed Salim, Mei Han, Bei Bei He, [[Zi Lan Liao]], Levi Chen, [[Andreas Vollenweider]], [[Jaron Lanier]], [[Mike Hovancsek]], Chih-Lin Chou, Liu Le and, David Sait. AND Moyun. Also, Koto player Brett Larner developed innovative works for the ''guzheng'' and played the instrument in a duet with electronic musician [[Samm Bennett]] on his CD ''Itadakimasu''.{{factcitation needed|date=April 2022}}

{{stack|[[File:YEAR OF THE MONKEY IN DUBLIN (CHINESE POETRY ON THE DART TO CELEBRATE THE NEW CHINESE YEAR)-111441 (24752589386).jpg|thumb|Guzheng in a Chinese New Year celebration (2016) in Dublin, Ireland.]]}}

In the television drama series ''[[My Fair Princess]]'', actress [[Ruby Lin]]'s character Xia Ziwei plays the ''guzheng'' (although she mimes to the music). It is featured in the 1980 pop hit, "[[Everybody's Got to Learn Sometime]]", by [[the Korgis]].{{factcitation needed|date=April 2022}}

{{stack|[[File:Even more Guzhengs (古箏) cropped.jpg|thumb|More Chinese guzheng in a shop.]]}}

In the film ''[[Kung Fu Hustle]]'', the assassins known as The Harpists play a long zither to generate bladed and percussive attacks. The instrument has raised bridges like a guzheng but its body is shaped like a guqin. The sound is that of a guzhengguqin.<ref>{{cite web|url=http://thecriticalreel.com/kung-fu-hustle-2004/|title=Kung Fu Hustle (2004)|date= 24 November 2013 |access-date=2018-12-07 }}</ref>

The ''guzheng'' has been used in rock music by Chinese performer [[Wang Yong (musician)|Wang Yong]] of [[Cui Jian]], the English musician [[Jakko Jakszyk]] (on the 2011 Jakszyk, Fripp & Collins album ''[[A Scarcity of Miracles]]''), J.B. Brubaker of [[August Burns Red]] on "Creative Captivity" from the 2013 album ''[[Rescue & Restore]]'', and the [[virtual band]] [[Gorillaz]] on "Hong Kong" (from the 2005 ''[[Help! A Day in the Life]]'' compilation). Jerusalem-based multi-instrumentalist [[Bradley Fish]] used the ''guzheng'' with a rock-influenced style and electronic effects on his 1996 collaboration "The Aquarium Conspiracy" (with [[Sugarcubes]]/[[Björk]] drummer [[Sigtryggur Baldursson]]), and is the most widely recorded artist of [[Loop (music)|loops]] for the instrument. Mandopop singer-songwriter and music producer [[Lay Zhang]] is known for using traditional Chinese instruments such as the guzheng.{{factcitation needed|date=April 2022}}