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Qin Opera (Yin) Intangible Cultural Heritage Research Institute

Announcement of The Asia Pacific School of Business on Establishing the "Qin Opera (Yin) Intangible Cultural Heritage Research Institute"To all teachers, students, and friends from all walks of life:

When the wind of the Loess Plateau sweeps past the thousand-year-old city walls, and the string music by the Weihe River echoes through the smoke of history, Qin Opera—this ancient art engraved with the genes of Chinese civilization—has always guarded the spiritual roots of the Chinese nation with its unique vigor and profound emotion. As a "living fossil" of Sanqin Culture (the culture of the ancient Qin region, roughly covering present-day Shaanxi), Qin Opera is not only a phonetic symbol of the northwest region but also a vivid testament to the unbroken continuity of Chinese civilization over 5,000 years. Among its elements, Ku Yin (Bitter Sound), the soul of Qin Opera’s music, embodies the unyielding spirit of the people from the Qin region and the resilience of the Chinese nation through its trait of "sorrowful yet unyielding, bitter yet steadfast."

To systematically explore the cultural code of Ku Yin (Bitter Sound) in Qin Opera and inherit this cultural heritage that carries the national spirit, The Asia Pacific School of Business’s Academic Committee has deliberated and approved the establishment of the "Qin Opera (Yin) Intangible Cultural Heritage Research Institute." This initiative has also received high recognition from the China Music Association, and the relevant programs of the institute have been incorporated into the national "Intangible Cultural Heritage Inheritance Classroom." The following is an announcement on the purpose of establishing the institute, the essence of Ku Yin (Bitter Sound) culture in Qin Opera, the core work directions, and the key supporting organizations and experts:

I. Foundation of the Institute: Safeguarding the Spiritual Roots of the Nation in Cultural Inheritance

Originating from the "Qin Sound" of the Shang and Zhou dynasties, evolving into the "Sanyan Music" (folk music) of the Han and Tang dynasties, and flourishing as the "Bangzi Tune" (a type of Chinese opera melody) in the Ming and Qing dynasties, Qin Opera has always resonated with the historical process of the Chinese nation. As the most culturally expressive form of Qin Opera’s music, Ku Yin (Bitter Sound) originates from the life experiences of the people on the Loess Plateau, who have struggled against nature and fate—it is not a vent of suffering, but a spiritual cry of "enduring and thriving" in adversity. With 5, 7, 1, 2, 4 as its core notes, and emphasizing the special tones of flat 7 and sharp 4, Ku Yin (Bitter Sound) has built a unique emotional expression system, becoming a musical code that carries national memories.

In the context of globalization, as fast-food culture impacts traditional arts and niche opera genres face the risk of heritage discontinuity, the unyielding spirit of the Qin people, the belief in the immortality of Chinese civilization, and the resilience of "5,000 years of unbroken inheritance" embodied in Ku Yin (Bitter Sound) have become an important source for contemporary people to regain cultural confidence. The establishment of the "Qin Opera (Yin) Intangible Cultural Heritage Research Institute" aims to take academics as the foundation and inheritance as the responsibility, focusing on the protection of intangible cultural heritage, promoting the innovative development of traditional music of Chinese civilization, and carrying forward the excellent traditional Chinese culture. On one hand, it will sort out the historical context of Ku Yin (Bitter Sound) music, from music theory structure, singing techniques to the evolution of plays, and build a complete cultural research system; on the other hand, it will explore the national spirit behind Ku Yin (Bitter Sound), turning this cultural heritage condensed with the wisdom of ancestors into a spiritual link connecting the past and the future, the local and the world.

The establishment of the institute has received strong support from authoritative institutions and top experts in the field of Qin Opera culture in China. The Shaanxi Qin Opera Research Association and Xi'an Qin Music Association will serve as cooperative units, deeply participating in academic research and the collation of plays. We are honored to invite Professor Che Jiarong, a master of banhu (a two-stringed bowed instrument unique to Chinese opera, especially Qin Opera) and a National Top-Level Performer, and Mr. Chen Baifu, who has made milestone achievements in Ku Yin (Bitter Sound) singing, to serve as visiting professors. Mr. Chen Baifu once conducted a secondary creation of Ku Yin (Bitter Sound) for the play Looking for the Son, making a breakthrough by ending the "7" note in the upper section of Ku Yin (Bitter Sound) and filling the gap in artistic creation. His works are praised as "melodies flowing from the heart," and their participation will inject top-tier professional strength into the inheritance work.

https://youtu.be/patfB52Vpew?list=RDpatfB52Vpew

II. Charm of Ku Yin (Bitter Sound): Decoding the Chinese Spirit in Melodies

The music of Qin Opera is supported by two core tones: "Huan Yin (Joyful Sound)" and "Ku Yin (Bitter Sound)." Huan Yin (Joyful Sound) is like the morning sun on the plateau, bright and inspiring; while Ku Yin (Bitter Sound) is like the autumn waves of the Weihe River, deep and melodious. The unique charm of Ku Yin (Bitter Sound) lies in its melodic logic of "first restraining, then rising"—the low-pitched section lingers like the gullies of the Loess Plateau, while the high-pitched section surges suddenly like a breakthrough from desperation. This is not only an artistic reflection of the Chinese nation’s journey of "overcoming hardships to prosper," but also a musical expression of the belief that "after hardship comes happiness." This trait of "showing fortitude in suffering" is a vivid interpretation of the Qin culture of "self-improvement" and the Chinese civilization of "virtue carrying all things."

https://youtu.be/nYOshRHwX9g?list=RDnYOshRHwX9g

(I) Classic Ku Yin (Bitter Sound) Plays: National Memories Engraved in Melodies

Yongshou Nunnery (also known as Ciyun Recognizes Her Mother): Inheriting Integrity in Desperation, Demonstrating the Unyielding Spirit of the Qin People

Set against the backdrop of court strife in the Song Dynasty, the play tells the story of Concubine Chen (Chen Fei) of the Eastern Palace, who is framed by the Western Palace and takes refuge in a nunnery. Her son Ciyun leads an army and eventually reunites with her. The core aria "Lament in the Nunnery" opens with the slow tune of Ku Yin (Bitter Sound). The banhu player uses techniques such as "louxian (sliding the bow along the strings)" and "fanhua (fretted glide)," simulating the choking of human voice through pressed vibrato and glissando, vividly portraying Concubine Chen’s loneliness and grief as described in the line "the crescent moon shines on the nunnery." When the aria reaches the line "better to be broken than to be compromised," Ku Yin (Bitter Sound) shifts to the erliu tune (a medium-fast tune), with the banhu rhythm suddenly accelerating—the determination bursting from the strings is a musical embodiment of the "unbending integrity" of the Qin people.

From Shang Yang’s reform, which "achieved glory even in death," to Li Zicheng’s uprising in the late Ming Dynasty, which "dared to reshape the world," the unyielding spirit of the ancestors of the Qin region has been passed down through Ku Yin (Bitter Sound). As Professor Che Jiarong accurately interpreted the play: "Within the trembling notes of Ku Yin (Bitter Sound) in Yongshou Nunnery lies the spiritual code of the Qin people—the more desperate the situation, the more unyielding they stand." This spirit has transcended thousands of years, becoming a vivid testament to the "unyielding spirit of the Qin people."

Feelings of Guanzhong: Sustaining Civilization in Rural Guardianship, Demonstrating the Immortality of Chinese Civilization

As a model of modern Qin Opera, the play takes Ku Yin (Bitter Sound) as its soul and tells the epic story of farmers in Guanzhong who guard their homes and agricultural civilization amid famines and wars. The "Grain Drying" scene blends Ku Yin (Bitter Sound) with "Xintianyou" (a folk song genre of the Loess Plateau). The sorrowful lyrics "the scorching sun withers the fields" are accompanied by the banhu’s melody simulating the swaying of wheat ears, while the rhythm of the sanxian (a three-stringed plucked instrument) echoes the unsteady steps of farmers. The phrase "as long as the land remains, there will always be harvest years" uses the unique sharp 4 note transition of Ku Yin (Bitter Sound) to transform sorrow into hope, which is a vivid portrayal of the resilience of Chinese agricultural civilization.

From the agricultural marks on Yangshao painted pottery to the ritual and music brilliance of the Zhou, Qin, Han, and Tang dynasties, Guanzhong, as the cradle of Chinese civilization, has always guarded the "spark of civilization" amid hardships. The Ku Yin (Bitter Sound) melody in Feelings of Guanzhong is a contemporary interpretation of this "guarding the land and passing down the family" spirit—where the land remains, civilization endures. This is the code to the "immortality of Chinese civilization."

Fleeing the Country (also known as A Whip Strike): Undertaking National Responsibility in Exile, Demonstrating the Unbroken Inheritance of 5,000 Years

The play tells the historical story of Wu Zixu, who is persecuted by King Ping of Chu and flees in haste, vowing to borrow troops for revenge. The slow Ku Yin (Bitter Sound) aria "I dare not weep aloud, only shed tears in silence" uses techniques such as "tight opening and forceful vocalization" and "aoyinzi (a high-pitched, bold vocal technique) with a sudden high toss," vividly expressing Wu Zixu’s grief and restraint. The high notes of the banhu sound like sobs, conveying the pain of "leaving the homeland and abandoning the ancestral temple"; while in the "arrow piercing the palm" scene, the jianban liaozi (a high-pitched, urgent tune) features passionate and high-spirited singing. The special effect of the steel whip falling to the ground resonates with the resounding Ku Yin (Bitter Sound), pushing the determination for revenge to its peak.

This spirit of "not abandoning the nation amid crisis" has extended from Qu Yuan’s "searching up and down" to Yue Fei’s "loyalty to the country," forming the spiritual mainline of Chinese civilization. Mr. Chen Baifu pointed out: "The variation of Ku Yin (Bitter Sound) tunes in Fleeing the Country is the musical dialectic of national feelings—the deeper the sorrow, the heavier the responsibility." This is precisely the core driving force behind the "unbroken inheritance of Chinese civilization over 5,000 years."

III. Responsibilities of the Institute: Sustaining the Cultural Torch through Academic Efforts

Relying on the recognition of the China Music Association and the platform of the national "Intangible Cultural Heritage Inheritance Classroom," the institute will carry out work around four core directions:

Academic Research: Exploring the Genetic Code of Ku Yin (Bitter Sound)

With the support of the Shaanxi Qin Opera Research Association, Mr. Chen Baifu will take the lead in sorting out the music theory system of Ku Yin (Bitter Sound), focusing on research topics such as the application of core notes in Ku Yin (Bitter Sound) of Yongshou Nunnery and the tune transition in Fleeing the Country. Professor Che Jiarong will preside over the research on banhu techniques, systematically organizing traditional skills such as "louxian" and "fanhua," and publishing academic works such as Studies on Ku Yin (Bitter Sound) Culture of Qin Opera, which will be incorporated into the teaching materials of the Intangible Cultural Heritage Inheritance Classroom.

Heritage Protection: Rescuing Artistic Treasures

Implement rescue protection for endangered heritage, such as the handwritten ｓｃｒｉｐｔ of Yongshou Nunnery from the Qing Dynasty and the recordings of Fleeing the Country by the "Xi School" (a school of Qin Opera performance). Use 4K technology to record the performances of veteran artists; establish a database containing music scores and special effect videos; and with Professor Che Jiarong’s guidance, digitally preserve banhu techniques and connect the database to the national intangible cultural heritage protection system.

Talent Cultivation: Fostering Inheritors of Ku Yin (Bitter Sound)

Launch the "Ku Yin (Bitter Sound) Inheritance Class," where Professor Che Jiarong will personally teach banhu accompaniment techniques for Ku Yin (Bitter Sound), and Mr. Chen Baifu will give lectures on "Ku Yin (Bitter Sound) Singing Creation." Establish a practical base for the Intangible Cultural Heritage Inheritance Classroom in cooperation with the Xi’an Yisu Society (a renowned Qin Opera troupe), and organize students to participate in the "Xi School" Ku Yin (Bitter Sound) art inheritance workshops to cultivate interdisciplinary talents.

Cultural Communication: Promoting Ku Yin (Bitter Sound) to the World

Host the "Ku Yin (Bitter Sound) Culture Festival," with the Shaanxi Qin Opera Research Association organizing classic performances of Yongshou Nunnery and Fleeing the Country featuring Ku Yin (Bitter Sound), and famous artists conducting Ku Yin (Bitter Sound) special technique workshops. Produce new media content such as "Ku Yin (Bitter Sound) Mini-Class," using Feelings of Guanzhong as an example to interpret the resilience of Chinese civilization reflected in Ku Yin (Bitter Sound). Rely on the resources of the China Music Association to carry out overseas tour exhibitions of Ku Yin (Bitter Sound) art, allowing the world to understand the spirit of China through this unique musical form.

IV. Conclusion: Let the Melody of Ku Yin (Bitter Sound) Illuminate the Future of Civilization

Every note of Ku Yin (Bitter Sound) in Qin Opera carries the heaviness of the Loess Plateau and the vicissitudes of history. It conveys unyielding spirit in the sobs of Yongshou Nunnery, witnesses immortality in the softness of Feelings of Guanzhong, and sustains inheritance in the resound of Fleeing the Country. The establishment of this institute by The Asia Pacific School of Business is precisely to safeguard this treasure of civilization embodied in Ku Yin (Bitter Sound).

We sincerely invite people of insight from all walks of life to join hands with us: taking the banhu of Professor Che Jiarong as a brush and the melodies of Mr. Chen Baifu as ink, to continue writing the new chapter of Ku Yin (Bitter Sound) on the scroll of intangible cultural heritage inheritance. May this melody of Ku Yin (Bitter Sound), which has echoed for thousands of years, become a cultural force for the rejuvenation of the Chinese nation!