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The '''zheng''' ({{zh|c=|p=zhēng|w=cheng}}) or '''
▲There are nylon steel strings, steel strings, silk strings, etc., depending on the genre. Now, the most common guzheng is 21 strings guzheng. The high-pitched strings of the guzheng are close to the player, and the low-pitched strings are on the opposite side. The strings' order from the inside to the outside is 1 to 21.
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]],{{citation needed|date=April 2022}} and the [[Kazakhstan]] [[jetigen]].{{citation needed|date=April 2022}} The guzheng should not be confused with the [[guqin]], a Chinese zither with seven strings played without moveable bridges.<ref>{{Cite 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=1996 |degree=Masters |first=Harriet Rosemary Ann |last=Gaywood}}</ref>
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The guzheng has gone through 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>
==
{{stack|[[File:XieZiqiao guzheng.gif|thumb|alt=Animated chart of the development of the guzheng|The number of strings on the Guzheng has gradually increased over its 2,000 year history.]]}}
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 the guzheng was originally developed as a bamboo-[[tube zither]] as recorded in the ''[[Shuowen Jiezi]]'', which was later redesigned to be more like the [[se (instrument)|se]] and made from larger curved wooden boards and 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>
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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.{{citation needed|date=April 2022}}
In the first book of the [[Remembrance of Earth's Past]] trilogy by [[Liu Cixin]],
==See also==
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