Longyinguan Qinpu: Qin Handbook of the Dragon Hum Mansion
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Longyinguan Qinpu
Qin Handbook of the Dragon Hum Mansion 1
 		 龍吟館琴譜
1799 ? 
Opening page of Longyinguan Qinpu 2      
Longyinguan Qinpu, often said to be the earliest handbook of the Zhucheng qin school,3 hence also of the Meian School,4 has eight melodies in all. All eight were then later included amongst the 14 melodies published in the Meian Qinpu (1931).5 If the date of 1799, often given to the Longyinguan Qinpu, is correct, then the Longyinguan Qinpu is the earliest known source of any of the versions of melodies said to belong to the Meian Qin School.

Zhucheng is a town not far from Qingdao in Shandong province. Because this was the home of the earliest known players of what became known as the Zhucheng school, those who say the Meian school developed from the Zhucheng school might say Meian is also a Shandong school. However, the earliest players of what became known as the Meian school actually lived in Nanjing: this was Xu Lisun (1897-1969) and Shao Dasu, who studied from the Zhucheng master Wang Binlu (Wang Yanqing; 1867 - 1921) at the studio, called "Meian", that he had established in Nanjing.

Furthermore, although proponents of the antiquity of the Zhucheng origins of the Meian school often point to the 1799 date on the extant version of Longyinguan Qinpu, their arguments are not conclusive.6 A strong contrary argument points to a preface to the Meian Qinpu by Xu Lisun and Shao Dasu in which they write that Longyinguan Qinpu was the name of a book compiled by or simply belonging to their teacher, Wang Binlu, which they then helped copy out and edit, getting it ready for publication around the time of his death.7 In addition, oral tradition and evidence from other early Zhucheng handbooks suggests that any of the melodies actually played in 1799 would have been modified between then and 1921.

Thus the following further questions arise:

  1. If Longyinguan Qinpu predates Meian Qinpu by over a century, why are their melodies in common so similar?
  2. Does the surviving copy of Longyinguan Qinpu really date, as it states, from 1799?
  3. If instead it dates, as Meian Qinpu states, from around 1921, does it still consist of faithful copies by Wang Binlu from a manuscript dated 1799?
  4. If in fact these eight melodies were still actively played within the Zhucheng School, and had been modified over the years, could these have been reference texts that do not accurately reflect how Wang Binlu himself played the melodies?
  5. Was Wang Binlu copying and teaching older tablature in order to lead the school back to an earlier way of playing melodies?
  6. Does Longyinguan Qinpu, instead, actually contain melodies as developed in the Zhucheng school after 1799, finalized only around 1921, but Wang Binlu himself wrote something in the tablature to suggest their original date was 1799? If so, perhaps the 1799 date simply means that the date on the existing copy reflects either a misinterpretation of what Wang Benlu actually wrote, or an uncritical acceptance that what he wrote, or a belief that the changes in tablature do not change the "reality" of its source in the earlier handbook.
  7. Could some of these questions be answered by studying some of the other handbooks said to be precursors of the Meian Qinpu?

As yet I have not found any reliable studies that conclusively answer these questions.

Since the modern Meian Qin School did develop from the Zhucheng school, to consider Longyinguan Qinpu (whatever its date) as a proto-Meian school handbook requires establishing that it contains earlier, or perhaps the earliest surviving, versions of melodies later published in the popular Meian Qinpu. There are several more handcopied qin manuscripts connected to the Zhucheng school but preceding the Meian Qinpu.8 At least one of these (Qinpu Zhenglü) does still exist, but the three of its melodies later included in Meian Qinpu all differ from the later versions. This also argues against the early date for Longyinguan Qinpu, at least in its surviving version, where the melodies are almost all virtually identical to the ones in Meian Qinpu.

The only original copy of Longyinguan Qinpu is in the Van Gulik collection at Leiden University.9 It has two folios, with essays in the first folio and eight melodies in the second. On the opening page is the statement:

Copied by Yue Lian at his alternate study room 10

According to Dai Xiaolian, Yue Lian was a Buddhist monk and well-known qin player from the Wuxi area (around Taihu) who was active about a century before 1799. Thus if this tablature has passed down unchanged since this Yue Lian, the music might even date from the late 17th century. However, in a later article Yan Xiaoxing (see reference) argues that this is unlikely, naming as one other possibility an early 19th century Yue Lian, a female Daoist monk.

Then in the last column of the table of contents (fourth page of the handbook) are the following two statements:

"Great Qing Jiaqing (emperor) jiwei dongyue" (i.e., the 11th lunar month of 1799)11
"Copied by Mao Shixun of Licheng".12

It is not clear how trustworthy that date is considered with regard to the actual tablature in that handbook. Lieberman relates the common belief that this was the handbook of Wang Binlu (1867 - 1921). The earliest known Zhucheng players are the two Wangs born in 1807, mentioned below under Qinpu Zhenglü. If these dates are correct, in particular 1799 for the surviving copy of Longyinguan Qinpu, this would mean that the Zhucheng characteristics were developed earlier than was previously thought. On the other hand, the handbook might turn out simply to be an early handbook that happened to be used by the players who eventually formed the Zhucheng school, and perhaps the version we have already incorporates changes made by Wang Binlu, without identifying the original versions. Perhaps a study of other early Zhucheng handbooks would provide further details about this.

 
Contents of Longyinguan Qinpu 13

Title page
As shown top right it also lists the melodies in the handbook; this is followed by a Table of Contents for each of the two folios.

Folio 1: Diagrams, lists, finger technique explanations and other technical commentary
Its table of contents is as follows (not yet translated)

律呂隔八相生圖
五音相生次序圖
律呂相生數
五音相生數
還相為宮十二調全圖
琴面正律五調全圖
琴面各弦五音定位
右手指法
左手指法
調弦轉弦法
大轉弦慢宮變角法
大轉弦清角變宮法
五音淺說
論五調捷要法.

Folio 2: Qin melodies organized by mode
Contains tablature for 8 melodies. These are compared below to their versions in the 1959 edition of Meian Qinpu:

  1.  Pingsha Luo Yan 6 sections + coda; Meian #10 generally follows the outline of Longyinguan throughout, but it adds some ornaments and changes many single notes to 3-note lun as well as 2-note unisons or octaves. Meian also divides two sections differently and adds a Section 6 (which seems to evoke the sound of geese calling rapidly to each other) not in 1799.
  2.  Changmen Yuan
 		 6 sections + coda; Meian #9 differs little, adding some ornamentation and dividing two sections differently. It does not appear in non-Zhucheng school handbooks.
  3.  Guanshan Yue 1 section, with instructions to repeat it; Meian #1 is almost same but divides it into 2 sections plus coda then instructions to "再作玉環體 repeat the jade disc structure" ( play it continuously). It was exclusive to Zhucheng school handbooks.
  4.  Qiu Gui Yuan 3 sections + coda; Meian #5 Qiu Ye Chang ("also called Qiu Gui Yuan") is almost the same. This melody is unrelated to the earlier Qiu Gui or Qiu Gui Yuan, and it does not seem to appear in non-Zhucheng school handbooks. The melody uses many finger rolls (lun) and Xu Lisun's 1959 preface says that according to Wang Yanqing (1867-1921) this melody was arranged from the pipa repertoire.
  5.  Xie Xian You 10 sections + coda; Meian #12 is almost identical. The tuning method, mentioned elsewhere in the handbook (lower the 1st, 3rd and 6th strings) is called man'gong in the ToC but taicou with the actual tablature. This version is very different from the earliest related melody, the Baji You of 1589. The version in 1864 is almost identical but I have not traced the source of this version further.
  6.  Chun Gui Yuan 3 sections + coda; Meian #6 Yulou Chunxiao is only a few notes different; the tuning method (raised 5th string) is given elsewhere in the handbook. It does not appear in non-Zhucheng school handbooks.
  7.  Qiujiang Ye Bo 4 sections + coda; Meian #8 is almost the same. The tuning method (lowered third string) is given elsewhere in the handbook. Despite changing this tuning method and also changing the earlier fa notes to mi, the melody is still quite similar to that of the Qiujiang Ye Bo of 1614.
  8.  Dao Yi 12 sections + coda; Meian #13 is almost identical. The tuning method (called wuyi but actually the same as guxian: raise the 2nd, 5th and 7th strings) is given elsewhere in the handbook. Not related to Dao Yi Qu, but clearly related to the Dao Yi surviving from 1589).

From the above it can be seen that in general these melodies are very similar to the versions in the modern Meian Qinpu, the main difference being that the latter sometimes show some elaboration. The reasons for this are not clear. The lack of change could be related to the fact that the Zhucheng school handbooks before Meian Qinpu were all hand-copied, and thus available mainly to students within that school. Melodies in printed handbooks, with their wider circulation, would more easily be absorbed into different schools and thus show more change over time; this seems to be what has happended since the publication of the Meian Qinpu. The greater ornamentation in the Meian Qinpu versions could also reflect a later style. On the other hand, perhaps there was always more variety in the melodies as actually played than as was shown in the tablature. All this provides matter hopefully for further study.14

 
Footnotes (Shorthand references are explained on a separate page)

1. Qin Handbook of the Dragon Hum Mansion (龍吟館琴譜 Longyinguan Qinpu)
Not in QQJC and no connection to the 龍吟閣秘本琴譜 Longyin'ge Miben Qinpu. Other translations of the title include Qin Tablature of the Mansion of the Singing Dragon, Qin Tablature of the Dragon Chant Study, etc. Studies of this handbook in Chinese include:

  1. 戴曉蓮 Dai Xiaolian: 荷蘭存見的古琴譜與高羅佩
  2. 謝孝苹 Xie Xiaoping: 海外發現《龍吟館琴譜》孤本—為慶祝梅庵琴社創建60年而作。
  3. 嚴曉星 Yan Xiaoxing: 《龍吟館琴譜》補說

There is said also to have been a Longyinguan Incomplete Handbook (龍吟觀殘譜 Longyinguan Canpu. Dai Xiaolian points out that this other character "guan" suggests a Daoist temple (see further on this below).
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2. Handbook opening page Fourth page            
 The original photocopies above and at right have been cleaned and cropped. The first page seems to be written with a different hand than the rest of the book. The large print, which is at left 龍吟館琴譜，二卷 and below 岳蓮別塾鈔, is written using some antique style characters. The smaller print, rather roughly written, is a table of contents, thus repeating what is also written three pages later, linked here at right. According to Dai Xiaolian the stamp at right of the first page was made by a seal belonging to Van Gulik and it says 集義齋 Jiyi Zhai (Studio for Collecting Righteousness). The stamp behind the antiquarian characters at bottom says 毛倧之印 Seal of Mao Zong. There is some disagreement about whether this is the same person whose name appears three pages later.

As for the fourth page, the dating of 1799 comes from what is written in the left column. At top: 大清嘉慶己未冬月; at bottom: 歷城毛式郇拜稿 (translations).
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3. Zhucheng School (諸城派 Zhucheng Pai)
Xu Jian discusses the development of this school in his section on the Wang Family of Zhucheng (a town west of Qingdao in Shandong province) in QSCB, p.174. Today it seems largely to be known through the fame of the Meian School (see next footnote).

This chart also mentions some Zhucheng players not surnamed Wang, such as 詹澂秋 Zhan Chengqiu of 濟南 Jinan (1890—1973, a student of 王露 Wang Lu), plus 徐立蓀 Xu Lisun and 吳宗漢 Wu Zonghan (students of 王燕卿 Wang Yanqing).
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4. Meian Qin School (梅庵琴派 Meian Qinpai)
The transition of this school from the earlier Zhucheng School is discussed by Xu Jian in his writings on the Wang Family of Zhucheng. Zha Guide still classifies Meian school players as Zhucheng (see his chart of traditional qin schools). Its melodies are collected in Meian Qinpu.
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5. Meian Qinpu (梅庵琴譜; 梅盦琴譜 for the 1931 edition); QQJC XXIX/183ff; pdf copy from QQJC; pdf of translation by Fred Lieberman
2 folios, 14 melodies; also romanized Mei An Qinpu. This important handbook of qin melodies mostly from the Zhucheng school was originally published in 1931, with later editions dated 1959, 1971 and ca. 1979; some originals are still available and there is also a ZGSD facsimile reprint. It is included here under Longyinguan Qinpu because as a student in Taiwan I had little connection with the Meian version of melodies but then, having focused on reconstructing old melodies, tried to trace the origins of the modern Meian versions. As far as I have been able to find out, there is in the Meian Qinpu very little connection with melodies from the period of my own particular focus, the Ming dynasty. In fact, most players who identify as Meian also play such melodies of earlier origian, but for these they usually talk about playing them in a Meian style rather than about playing them according to tablature used by earlier Meian masters.

The edition listed and indexed in the Zha Guide is the one dated 1931/, which has 14 melodies. The 1959 edition adds at the end a new melody, Moon Rising over the Wutong Trees, created by 徐立孫 Xu Lisun in 1938 (see #15). The tablatures were originally written down by 王賓魯 Wang Binlu and/or his students before he died in 1921, with the aim of preserving his tradition; most important of these students were 徐卓 Xu Zhuo (徐立孫 Xu Lisun, 1897-1969) and 邵森 Shao Sen (邵大蘇 Shao Dasu).

The original tablatures, which had no commentary, were apparently in a manuscript belonging to Wang called Longyin Guan Qinpu, said to be a source handbook for the Zhucheng school; it is often dated to 1799, but this date has not been confirmed. After the first Meian Qinpu was published in 1931 the various later editions show some differences. Xu Lisun added essays for the 1931 edition, including afterwords to all the melodies; for the 1959 edition these commentaries were expanded. However, none of the afterwords was indexed or included in Zha's guide, which was published in 1958. Later editions may also have new and/or different essays.

The melodies in Meian Qinpu are as follows (those also in Longyinguan Qinpu are so indicated):

    1.  Guanshan Yue Longyin #3
    2.  Qiu Feng Ci Lyrics; lowered 3rd string tuning; music related to the 1840 and 1931 Qiu Feng melodies; 秋風詞 not 秋風辭
    3.  Ji Le Yin Lyrics as >1505 and still raised 5th tuning, but new music
    4.  Feng Qiu Huang Lyrics as 1539, but without coda; music related to other earlier versions
    5.  Qiu Ye Chang Longyin #4 Qiu Gui Yuan. Unrelated to earlier Qiu Gui or Qiu Gui Yuan
    6.  Yulou Chunxiao Longyin #6 Chun Gui Yuan is only a few notes different; raised 5th tuning
    7.  Feng Lei Yin Earliest with this melody; lowered third string tuning
    8.  Qiujiang Ye Bo Longyin #7; lowered third string tuning
    9.  Changmen Yuan Longyin #2 (recording by Zha Fuxi)
  10.  Pingsha Luo Yan Longyin #1
  11.  Shi Tan Zhang See in Chart Tracing Shitan Zhang / Pu'an Zhou
  12.  Xie Xian You Longyin #5; taicou tuning: lower 1st, 3rd and 6th strings
  13.  Dao Yi Longyin #8; raise the 2nd, 5th and 7th strings. See details: the earliest surviving version in this mode has lyrics and dates from 1589.
  14.  Sao Shou Wen Tian Earliest surviving version of this melody seems to be the Qiusai Yin of 1722
  15.  Yueshang Wutong 月上梧桐 Moon Rising over the Wutong Trees; 6 sections plus coda
only from 1959: created in 1938 by 徐立孫 Xu Lisun himself

The three melodies in Meian Qinpu that do have lyrics all pair them to the music following the traditional pairing method.

For further details in English about Meian Qinpu see Fred Lieberman, A Chinese Zither Tutor.
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6. Early origins of Zhucheng melodies
It is common today to hear claims that the Zhucheng and/or Meian melodies reflect a style of play from the Ming or early Qing dynasties, but little evidence is provided to establish the specifics of these claims.
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7. 王賓魯 Wang Binlu, aka 王燕卿 Wang Yanqing (1867 - 1921)
See QSCB, p.174. The preface by his student, 邵大蘇 Shao Dasu (the original version of which is not in my edition of Meian Qinpu, but see above), as translated in Lieberman, p. 6, says that as Wang Binlu was dying Shao helped 徐立孫 Xu Lisun finish editing Wang's incomplete Longyinguan Qinpu. After Wang died Shao and Xu continued the editing, eventually changing the name to Meian Qinpu when they published it in 1931. This brings up the question of whether the surviving Longyinguan Qinpu, said to date from 1798, is actually this edited version from the 1920s, and this edited version remained only as a hand copy, with the original being discarded, after the Meian Qinpu was published. In addition, if in this case "editing" the Longyin Guan tablature meant changing it to the way Wang Binlu actually played the melodies at the time of his death in 1921, this would explain why the versions are nearly identical rather than being evidence that the Meian versions actually date from 1798 (or earlier). To further understand this it is important to examine how these melodies might have appeared in other 19th century handbooks connected to the Zhucheng school (see next footnote).
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8. 諸城派 Zhucheng School handbooks before Meian Qinpu
When he wrote his Guide in the 1950s Zha Fuxi apparently had not seen the early Zhucheng handbooks, which were all handcopied, not printed. I have only seen Longyinguan Qinpu and Qinpu Zhenglü, so cannot comment on the others.

  1. Longyinguan Qinpu (龍吟館琴譜 ; 1799?)
    Not included in QQJC, as discussed above (ToC)

  2. Qinpu Zhenglü (琴譜正律 ; 1839?; XXIII/35-73; pdf)
    1 folios, 14 pieces, as below. The QQJC commentary says this was the first handbook from Shandong since Qinyuan Xinchuan (1670; 85 melodies plus variations), with which its own melodies have no apparent connection. The commentary adds that the handbook was not generally known until after 1949, suggesting that the 1839 date has not been authenticated, at least for the existing volume. QSCB (pp.174-5) and some online information say this was the handbook of the 諸城二王 "Two Wangs [who founded] the Zhucheng School", namely,

    • 王雩門字冷泉 Wang Yumen, style name Lengquan (ca. 1807 - 77);
    • 王溥長字既甫 Wang Fuchang, style name Jifu (ca. 1807 - 1886); father of 王作禎字心源 Wang Zuozhen, style name Xinyuan (1842 - 1921; see in Zha Fuxi's chart of qin schools).

    Wang Yumen and Wang Fuchang originally had different styles, but after their association they developed a new style. Wang Yumen then compiled the new melodies, or new versions of the melodies, into Qinpu Zhenglü. The melodies are:

    1. Tiao Xian Runong (XXIII/45); 3 sections; lyrics; like 1585
    2. Liangxiao Yin (XXIII/46); 2;
    3. Changmen Yuan (XXIII/46); 6; "name of creator is lost"; characteristic Zhucheng melody: Longyinguan #9, Meian Qinpu #9
    4. Wuye Wu Qiufeng (XXIII/47); 7
    5. Jing Guan Yin (XXIII/49); 3
    6. Oulu Wang Ji (XXIII/49); 6
    7. Shanju Yin (XXIII/50); 3
    8. Pingsha Luo Yan (XXIII/51); 7; Meian Qinpu #10
    9. Yu Ge (XXIII/53); 18
    10. Saishang Hong (XXIII/57); 16
    11. Xiao Xiang Shui Yun (XXIII/59); 18
    12. Hujia (XXIII/62); 18
    13. Shuixian Cao (XXIII/66); 9; not the same as Meian Qinpu #14 (from 1722)
    14. Qiu Hong (XXIII/68); 36

    François Picard says this handbook also has a "missing link" in the development of Pu'an Zhou, but I cannot find that melody here. Interestingly, three of the melodies here (#s 2, 5 and 8) were later included in Meian Qinpu, and these same three are the first three melodies in Longyinguan Qinpu - where the versions are identical to those in Meian Qinpu. The fact that they are identical argues against the date of 1799 for Longyinguan Qinpu, and thus also complicates assessing the dates and significance of these two earlier volumes.

  3. Tongyin Shan Guan Qinpu (桐蔭山館琴譜; ca. 1880? François Picard dates it ca. 1900)
    ? folios, 15 pieces? Online information says that 15 melodies of Wang Fuchang (see     above) were compiled into this handbook by his son 王作禎字心源 Wang Zuozhen, style name Xinyuan (1842 - 1921); other sources credit it to Wang Zuozhen's son 王熙麟字秀南 Wang Xilin, style name Xiunan (1879 ~ 1952). Wang Xiunan was a brother of Wang Yanqing.

  4. Yuhexuan Qinpu (玉鶴軒琴譜; date?)
    ? folios, ? pieces; François Picard dates this ca. 1903 and credits it to 王心葵 Wang Xinkui (1877 - 1921), another son of Wang Zuozhen (see previous). A number of early modern recordings have cited this as their source (e.g., by students of Wang Xinkui - about whom see     Qinxue Zhaiyao.).

    Also possibly:

  5. Qinxue Guanjian (琴學管見; 1930? XXIX/221--295; pdf of original from QQJC)
    undivided; 石印本 a lithograph imprint by 李崇德 Li Chongde; 2+19 pieces (including a Jiu Kuang copied from 1589). The Zha preface says nothing is known of the author and that it is hard to find, but that it reprints some valuable old materials. Zha Fuxi says 1930 was the date of the lithograph imprint; elsewhere it has been dated from 1870: sixty years earlier (earlier edition or different cyclical date interpretation?). 10 of its titles are also in Meian Qinpu; some but not all are the same (they seem more likely to be closer to the Longyin Guan versions, but careful comparisons have not yet been made). The full list of melodies is:

      Tiao Xian Runong (warm up prelude)
      De Dao Ge (similar to previous)
    1. Si Qin Cao (from 1511?; XXIX/254)
    2. Lou Shi Ming (from 1539? XXIX/255)
    3. Gui Qu Lai Ci (from 1511 XXIX/256)
    4. Ping Sha Luo Yan (MA#10; XXIX/260)
    5. Jiu Kuang (from 1589; XXIX/263)
    6. Xie Xian You (MA#12; XXIX/267)
    7. Sao Shou Wen Tain (MA#14; XXIX/269)
    8. Qiu Jiang Ye Bo (from 1614; XXIX/273)
    9. Ji Le Yin (MA#3; XXIX/275)
    10. Qiu Feng Ci (MA#2; XXIX/275)
    11. Feng Qiu Huang (MA#4; XXIX/276)
    12. Guanshan Yue (MA#1; XXIX/277)
    13. Chun Gui Yuan (MA#6; XXIX/277)
    14. Gu Qin Yin (from 1585?; XXIX/278)
    15. Oulu Wang Ji (from 1664 XXIX/279)
    16. Ting Qin Yin (from 1589?; XXIX/281)
    17. Qiu Sheng Fu (from 1589? XXIX/283)
    18. Chang Men Yuan (MA#9; XXIX/288)
    19. Dao Yi (MA#13; XXIX/290)

    The links on this list go to the earliest listing of each title, but they may not all have a musical relationship.
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9. Van Gulik Collection at Leiden University
Photocopies and microfilm of this document have circulated. I have not seen information as to where Van Gulik acquired this handbook.
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10. 岳蓮 Yue Lian and 岳蓮別塾鈔 Yue Lian bieshu chao
Regarding bieshu 別塾 1955.xxx (compare 別墅 bieshu); 5496 塾 says 門側之堂 etc., so it could refer to various types of rooms.

As for 岳蓮 Yue Lian, according to Dai Xiaolian he was a monk and qin player from the 梁溪 Liangxi area of 無錫 Wuxi. She says he may have changed the name from 龍吟館 to 龍吟觀 (both pronounced Longyin Guan) because the latter "guan" is overtly Daoist and he was a Buddhist. She quotes a lengthy passage from 蚕尾集 Can Wei Ji by 王士禎 Wang Shizhen (Bio/162; 1634-1711), which suggests the music might date from considerably earlier than 1799.

However, Yan Xiaoxing (last paragraph of Section 2) mentions a 嘉道間 early 19th century female Daoist monk named 王蓮又名岳蓮 Wang Lian, also called Yue Lian who 精書畫，亦通音律 excelled at calligraphy and painting and was good at music. He concludes that although she was not necessarily the person who copied Longyinguan Qinpu, the identification of Yue Lian with the earlier Buddhist monk seems somewhat far-fetched.
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11. Great Qing Jiaqing (emperor) jiwei dongyue (大清嘉慶己未冬月)
See page four original. If this date is reliable, then presumably the melodies originated earlier than 1799.
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12. Copied by Mao Shixun of Licheng (歷城毛式郇拜稿)
See page four original. Mao Shixun was apparently born ca. 1774 and died in 1844: Bio/xxx, but Dai Xiaolian mentions a biography in 續歷城縣志 Continuation of the Licheng Country Chronicles Licheng is an area around 濟南 Jinan in Shandong province. Dai Xiaolian also discusses the possibility of Mao Shixun being the same person as Mao Zong. Elsewhere one can find references that call this 山東毛氏抄本 the Hand-copy by Mr. Mao of Shandong. It is not clear whether this is the same person as the 毛倧 Mao Zong whose seal is on the opening page. Yan Xiaoxing writes at length about the significance of the last two words, 拜稿 bai gao.
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13. Content of Longyinguan Qinpu
A photocopy of the complete handbook is available here.
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14. Further study: Variation and stylistic differences
In English there is a good account here of the Meian school today.

The following is an interesting account in Chinese tracing the history of Meian. It was copied from www.fanyin123.com. Note in particular after "1991年9月台灣琴友孫於涵....".

現在就我多年來鑽研《梅庵琴譜》所得，再加以補充數點如後：

一、自清代以來就陸續有琴家注意到節拍的問題，而有在出版的琴譜上加以點或線的符號，甚至有將板眼用之於琴譜上的，但是都沒有建立一定的法則，也沒有特別的使用說明，以致不能收到實際的效果。只有王燕卿先生在梅庵琴曲上使用了與西洋樂曲節拍規律相同的點拍，而且列出了詳細使用方法說明，所以說點拍在古琴上能有系統的運用，是由王先生開始建立。最近我曾聽到有學琴的青年人說他按照梅庵琴曲的點拍學習還不能應用自如，這實在是他沒有詳細閱讀點拍舉例的說明所產生的問題。

二、《梅庵琴譜》的編輯在理論和方法方面均是從實際應用為出發，所以簡潔明瞭，易於初學者入門。對律呂等樂理方面的介紹以最淺近易懂的文字予以說明，如琴調方面則採用五個常用調，從一至五弦分別作為宮音，乃為：林鐘調一弦為宮，無射調二弦為宮，黃鐘調三弦為宮，太簇調四弦為宮，仲呂調五弦為宮。而在轉調方面則採用三分損益法的上生、下生以慢宮為角，緊角為宮的變調為主。指法方面則力求實用，簡化為右手計三十一種，左手計四十種，比過去的繁雜指法少了很多。

三、《梅庵琴譜》中所選輯的每一曲譜都曾經過王燕卿先生加以增益改進，乃至如《平沙落雁》一曲中增添了一段創作，描寫雁群上下翻飛，鳴叫呼應的逼真情況，更是表現了梅庵琴曲與眾不同的地方，大大增進了梅庵琴派的獨特風格。尤其特殊的一點是王先生在改編《搔首問天》一曲中採用了數段“快彈” 的演奏風格，這是歷來古琴界所未有的一大創新!

介紹至此我要特別談到有關《梅庵琴譜》在歷史考證上的一大轉變經過，那就是以往王燕卿先生所遺留下來的《龍吟觀殘譜》大家均未看到過該原譜，很難瞭解《梅庵琴譜》中所轉錄的琴曲有多少是根據《龍吟觀殘譜》而來。由於部份琴曲在過去問世的琴譜中都未見輯錄，而這些琴曲經王先生增益、改進後旋律、節奏均較生動、活潑，於是近代琴人就有謂《關山月》一曲為王先生吸收近代民歌而改編，《玉樓春曉》為近代的作品，《秋夜長》為王先生從琵琶譜轉譯等等說法。

1989年，大陸琴人謝孝蘋先生從香港琴人饒宗頤先生處得悉荷蘭漢學家兼古琴家高羅佩先生 (Robert Van Gulik) 曾在四川獲得《龍吟館琴譜》鈔本，現藏於荷蘭萊頓大學漢學圖書館。謝先生乃設法與萊頓大學漢學圖書館聯絡，取得該譜的微縮影片。而於1989年10月寫了一篇《海外發現龍吟館琴譜孤本 —— 為慶祝梅庵琴社創建六十年而作》，發表於北京音樂刊物。

1991年9月台灣琴友孫於涵女士從大陸旅遊歸來，寄給我一份謝先生文章的影本，才知道這一訊息。謝先生為一學者作家，擅長詩詞文章，早年曾從先父同學畫家王個簃先生及吳宗漢師兄游，對梅庵琴曲特別喜愛而有所研習，現為北京方面琴人。謝先生之文章對梅庵琴曲的考證，闡論非常詳盡、透徹。由於《龍吟館琴譜》的發現，證明瞭以下諸點：

一、《龍吟館》與《龍吟觀》有一字之差別，實即為同一譜。
二、梅庵琴曲中所收錄《關山月》等八首曲譜，即是根據《龍吟館琴譜》中曲譜而來。
三、《龍吟館琴譜》在琴曲目錄後，載有“大清嘉慶己未冬月”，“歷城毛式郇拜稿”等字樣。根據年代查考該譜應在公元1799年問世，較《梅庵琴譜》的出版早了近二百年，嚴格來說這些琴曲的創作應更早於二百年前，推翻了一些認為梅庵琴曲為近代創作曲的錯誤推論。
四、《龍吟館琴譜》本身即為一抄本，封面上有“岳蓮別塾鈔”字樣。而編纂者毛式郇為山東人氏，王燕卿先生亦系山東人氏，近水樓台，極可能就近獲得該抄本，不過或許是不完整的殘本，故有“龍吟觀殘稿”一說，然經查考梅庵所收龍吟館曲譜則完整無缺。
五、《梅庵琴譜》與《龍吟館琴譜》除了王先生將每一曲均有所改編、增益外，尚有不同處為：龍譜諸曲均無作者，而梅譜則增列了作者姓名；其次龍譜《春閨怨》、《秋閨怨》二曲，在梅譜則易名為《玉樓春曉》、《秋夜長》。六、此外對於《龍吟觀琴譜》誤認系王燕卿先生著作一說，個人根據先父及徐立孫先生在梅譜中之跋文與序文所述考證，可以作如下之解釋：王先生曾經擁有《龍吟館琴譜》抄本殘稿八曲，復從其他諸譜輯錄了他喜好的多首琴曲，而在數十年間加以增訂、改編，擬將原譜名易“館”字為“觀”，字而予以出版問世，但結果未曾如願，後由弟子徐、邵二人完成了他的遺志，易其書名為《梅庵琴譜》。個人確認此一說法較為真實，並能為各方接受。

自《梅庵琴譜》問世以來，數十年間各方有心研究琴學的琴人，多對王先生在琴曲創新、改進方面有肯定的贊揚。惟均只能從創立點拍，於《平沙》一曲中增添一段極為傳神之創作，乃至梅庵琴曲旋律、節奏清新、活潑，風格獨特等方面予以贊美，而並未能具體說出王先生在琴曲改進方面的實際情況。

多年來我一直發願要完成這一方面之研究工作，除了《秋風詞》等六曲歷年來多方蒐集資料，予以對照比較研究已有所結果外，而對出自於龍譜之八曲始終無法取得資料，深以為憾。1991年獲得謝先生文章訊息後，雀躍不已，乃多方探聽謝先生之通訊地址予以聯絡，雖得其慨允，而以其微縮片借與上海方面琴人，一時無法取回。此時弟子郭曉薇悉此事，告以其姊夫林志鴻先生正就職於比利時外交單位，可以托其就近向荷蘭萊頓圖書館洽取該資料。經過一番聯繫，林先生在1992年新年期間，特為跑了一趟荷蘭。經由萊頓圖書館館長吳榮子女士協助，獲得了一份《龍吟館琴譜》微縮片。再由其夫人郭女士於返國之便帶回台灣，終於我能獲得了龍譜孤本的影印本，而完成了我對梅庵琴曲研究的宿願。

我之所以不厭其詳的敘述這一段事實，主要是這對梅庵琴派所依據琴曲的歷史發展以及發掘王先生對琴曲改進的事實有其極重要的關係。在此，我要重申對謝孝蘋先生鍥而不捨地發掘《龍吟館譜》孤本的努力，以及林志鴻先生和他夫人的協助，表示衷心的感謝！
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