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Plate 9.3 Zhu Quan 朱權, (c. 1378–
1448), Wondrous and Secret Notation
(Shenqi mipu 神奇秘譜), reprint of the
1425 Hongxi edition (Beijing, 1956).
Pages showing notation for Qiuhong

353 arias, were Herculean tasks, particularly for the first such, it raises many questions as to how and why Zhu Quan
time. If Zhu Quan finalised Taihe zhengyinpu around 1407, notated and explained qin music, and how he compiled a
when he was barely 30 years old and had been settled in verifiable record of the creation and transmission of the qin
Nanchang for only four short years, then this shows the music repertory, theory and performance practices from
diligence of his application to the task at this time. It is most Tang and Song times, which has remained historically
likely that he had or summoned substantive help from influential through the Ming and down to the present. As it
compilation partners in his princedom. is now known, Shenqi mipu is a mature document, with
Such help neither diminishes Zhu Quan’s achievement practically all the standard features displayed by qin
and contribution to Chinese drama nor negates his seminal anthologies subsequently published in Ming and Qing
role as an artist and theorist-teacher in the history of China. These include, for example, comprehensive tablature
northern aria composition and performance. As a matter of signs, declarative and explanatory prefaces, modally
fact, acceptance of the existence of this help promotes a classified repertories, critical annotations and
more realistic understanding of how the prince achieved his programmatically suggestive titles and subtitles for
legacy in Chinese drama and performance. Historically individual works. It is unlikely that Zhu Quan created this
speaking, Taihe zhengyinpu has been most influential; it was comprehensive system of notational and explanatory
and still is consulted by all concerned with northern drama features by himself. In fact, he clearly acknowledged the
composition and performance. source of his system, and the tablature scores of his
anthology affirm his statement. In his preface to the
Continuing and developing qin music anthology, the prince revealed that he had collected Song
Like Taihe zhengyinpu, Zhu Quan’s Shenqi mipu of 1425 also and earlier qin scores, practised and edited them, a fact
attests to his role as a legacy-building and rule-formulating demonstrated by notational inconsistencies found in the
consumer and producer of performing arts. At present, this anthology. 27
work remains the earliest extant, comprehensive and As it is now preserved, the Shenqi mipu divides into three
decipherable notated source of Chinese qin music. As such, fascicles of 61 compositions. The first fascicle preserves 15
25
it establishes the prince’s unique contribution to the genre’s compositions in six distinctive scale-modes from Tang, Song
historical continuity and change since early Ming China. By or earlier times; the second fascicle includes 26
the Southern Song and Yuan period (1127–1368) in China, contemporary or recent works in five distinctive scale-
qin music had become an elite and male performing art, and modes; and the third fascicle holds 20 works in five modes.
contemporaneous practitioners had developed their own One composition in the last group, namely Qiuhong 秋鴻
aesthetics and composition-performance styles, producing (Autumn Geese), is often discussed as an original composition
exclusive compilations of their notated music. Unfortunately, by the prince (Pls 9.2–9.3). Many of the qin compositions
28
no such notated sources from the Southern Song or earlier preserved in Shenqi mipu were and still are traditional
times have been preserved today. Only the titles of favourites. Their names include, for example, Meihua sannong
prominent works, such as Zixia dongpu 紫霞洞譜 (Qin Music 梅花三弄 (Three Variations of Plum Blossom), Liushui 流水
Anthology of the Purple Cloud Cave), have been referenced in (Flowing Water) and Xiaoxiang shuiyun 瀟湘水雲 (Water and Mist
many historical documents. 26 of the Rivers Xiao and Xiang).
As an informative and unique document, Shenqi mipu Zhu Quan prepared his anthology to preserve a tradition
occupies a seminal place in Chinese musical history. As that he deemed authentic and representative of civilisation in

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