Academic program
The curriculum develops pipa, guzheng, and ruan performance through technique, repertoire, interpretation, and ensemble practice.
Academic focus
The program develops an adaptable plucked-instrument musician who can work across solo, chamber, and concerto settings while understanding the distinctive languages of guzheng, pipa, and ruan.
Learning design
Technical study is paired with stylistic listening, score analysis, guided rehearsal, and performance. Students compare regional schools, historic repertories, modern notation, and ensemble roles rather than treating technique in isolation.
Curriculum
The eight-course sequence covers northern and southern guzheng traditions, contemporary and chamber repertoire, pipa and ruan performance, and concerto study.
Each course entry includes its full description, learning outcomes, repertoire or materials, teaching methods, and the operational details published with the curriculum. Open an individual course or display the complete curriculum at once.
This advanced program combines one-to-one instruction with intensive solo and ensemble performance experience. The published overview stated eight courses at 240 hours each, while the individual course entries stated 40 hours; the two published figures do not agree.
Historical version: This information reflects the arrangements in effect when it was published and may have changed. The published hours do not agree; confirm current operational requirements with the academy.
Introduces the theory and fundamental techniques of northern guzheng music through Hanjiang Rhyme, High Mountains and Flowing Water, Autumn Moon over the Han Palace, and Echoes of the Xiangshan Drum, with close attention to the Shaanxi, Henan, and Shandong traditions.
Studies contemporary works through Fishing Boat at Dusk, Moonlit River in Spring, Spring on the Xiang River, Eight Scenes of Chang’an, Fantasia, and South of the Clouds, introducing modern composers, contemporary notation, performance style, and cooperation among chamber parts.
Studies the contrast between pipa wenqu and wuqu. Wenqu is approached through its lyrical, inward, and image-rich expression in works such as Song of the Frontier, Wild Geese on the Sandbank, Qinglian Yuefu, Moonlit Night on the Xunyang River, Chen Sui Ancient Melody, and Moon on High; wuqu is approached through narrative, realism, dramatic pacing, and sound-imitation in works including Ambush from Ten Sides, The Overlord Removes His Armour, Haiqing Takes the Swan, and military parade pieces.
Studies traditional and regional ruan works through left-hand finger sequences, fixed-position and rapid-position changes, slides, bends, chords, B-position and F-tuning exercises, pentatonic work, short and long tremolo, portamento, plucking and striking, vibrato, ornaments, rapid work across two or three positions, and same-finger chromatic shifts.
Studies the theory and fundamental techniques of southern guzheng music through Moon on High, Water Lotus, and Jackdaws Playing in the Water, with emphasis on the Chaozhou, Zhejiang, and Hakka traditions.
Studies concerto form and performance style through Lin’an Resentment, Night Mooring at Maple Bridge, and Yunshangsu, with attention to the practical relationship between a guzheng soloist, piano, and orchestra.
Studies chamber music and contemporary works, modern composers, contemporary notation, performance style, and cooperation among independent parts through an extensive repertory for plucked-string instruments and mixed ensembles.
Studies concerto form and performance style through works for pipa and ruan—including Mulan, Yun Xianghua, Blessing, Little Sisters on the Prairie, Lin’an’s Last Regret, Han Pipa Love, Mountain Rhyme, Reminiscences of Yunnan, Ode to the Earth, A Sage in the Bamboo Grove, Loulan Dream, Porcelain, and the Second Zhongruan Concerto—with attention to cooperation with piano or orchestra.
Course scheduling and sequence may vary by term. The academy can confirm the current arrangement for each program.
