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princely power and command of available resources with his 3 Most available Chinese studies gloss over the issues; see for
artistic talents and personal ambitions to make a difference example Zhong Le 2013 and Zhang Zehong 2014.
for the Ming empire and its people. 4 Yao Pinwen 2013, 193, 204–10, 294.
5 Unless specified, biographical and bibliographical data about Zhu
Many Ming princes stamped their personal marks on Quan’s biography and writings follow those presented in Yao
Ming history. Besides Zhu Quan, however, only two other Pinwen 2013.
princes achieved comparable historical status and 6 For two studies on the rebellion, see Chan 1976 and Jiang Fenglan
bequeathed to posterity towering legacies in drama and 1997.
music. The first is Zhu Youdun 朱有燉 (1379–1439), who 7 Yao Pinwen 2013, 42–8.
8 Yao Pinwen (annotated) 2010.
authored a critically acclaimed and preserved repertory of 9 Zhu Quan 1981.
northern dramas. The second is Zhu Zaiyu 朱載堉 10 Zhu Quan 1987.
32
(1536–1611), who authored a collection of books on musical 11 The poems have no titles; for convenience of identification, I have
history and theories, collectively known as the Yuelü quanshu sequentially numbered them as they are presented in Zhu Quan
1987.
樂律全書 (Complete Collection of Zhu Zaiyu’s Musical Treatises); it 12 Zhang Tingyu 1984 and Shen Shixing 2007.
includes what is arguably the earliest thesis on equal tuning 13 Lam 1998, 37–54.
and temperament in world music. 33 14 Shen Shixing 2007, 104: 569–71; 183: 931–2; 226: 1110–12.
All three Ming princes benefited from their privileged 15 Li Zhenyu 2010, 54–64.
positions, which provided them with the training, resources 16 Li Zhenyu 2010, 58.
17 Liu Ruoyu 1980, 39–41.
and human assistance that allowed them to produce and 18 Shen Shixing 2007, 56: 354.
consume Ming performing arts the way they did. Only Zhu 19 For a survey of theatrical performances at the Ming court, see Li
Quan, however, had the ambition to discipline composition Zhenyu 2010.
and performance of dramatic arias and qin music, and 20 Xu Zifang 2003.
21 Zhu Quan 1979, juan 7.
produced effective prescriptions and notations for their 22 Li Kehe 2010.
practices that are still consulted by 21st-century composers 23 This interpretation is stimulated by Luo Di’s arguments on the
and performers. By comparison with the other two, Zhu historical rise and musical features of beiqu; Luo Di 2013.
Quan’s legacy is the most systematising, and its influence on 24 Zhou Deqing 1978.
Ming, Qing and contemporary Chinese music is most clear 25 There are many general descriptions of Zhu Quan’s Shenqi mipu
and a number of musicological studies on technical and historical
and verifiable. Even if Zhu Quan’s disciplining of Ming aspects of the anthology; see, for example, Xu Guanhua 2005; Xu
drama and qin music was more theoretical and princely than Jian 2012, 235–43.
practical and nationwide, he posthumously shapes their 26 See Zhang Huaying 2013, 1–15, 52–7, 339.
historical interpretations and narratives. Ming musical 27 See Wu Wenguang 2008 and Zhang Huaying 2005, 132–3.
28 Xu Jian 2012, 224–7; Yan Xiaoxing 2013.
history cannot be told without reference to Zhu Quan and 29 Goormaghtigh and Yung 1997.
his legacy. 30 Liu Yi 1988.
31 View Gu Yongxiang 2014 [www.youtube.com/
Notes watch?v=0oXQiSFc8y4&feature=em-upload_
1 For a concise description of Zhu Quan’s biography and extant owner#action=share] for an audio-visual clip of his playing of
Yiguren 憶故人 (Remembering People of the Past) on the qin; Gu
writings, see DMB, 305–7.
2 CNKI China National Knowledge Infrastructure (www.cnki.net), Yongxiang is the son of Gu Zechang. View also Song Ming 2013 for
clear pictures of the instrument.
a website of Chinese academic research and current publications, 32 Idema 1985.
for example, lists 350 items comprising journal articles, MA and 33 Zhu Zaiyu 1996.
Ph.D theses under the heading of ‘Zhu Quan’.

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