This thesis uses two contemporary sample guqin associations – Shenzhen Spring Breeze Guqin Association founded by a freelance guqin player Ms. Yao Liang, and Beijing Jun Tian Fang founded by a professional guqin maker Mr. Wang Peng – to address topics such as the tradition of guqin music aesthetics, the transmission of guqin music, changes of traditional guqin music practices, and contemporary guqin pedagogy. From an outsider's perspective, one might ask questions as follows: what are the reasons and driving forces behind the revival of the guqin music? Has the guqin and its music changed? If so, what aspects of the guqin music have changed from its tradition? Do people still appreciate guqin music in the same way as our predecessors did? In this project, I try to offer reflections on the questions raised above and to illustrate the new popularization of the guqin in 21st century China.
"},{"label":"Degree","value":["Bachelor of Arts with Departmental Honors"]},{"label":"Administrative Note","value":"2015