We, the New York Qin Society, here announce our establishment. Most ancient music has disappeared, and the original sound of the qin is unknown. Although tradition says that the qin has its source in the Yin and Zhou Dynasties, and that qin music has been used for self cultivation since the Spring and Autumn Period, the qin apparently did not achieve its present form until some time during the Han and Jin Dynasties. Much music was created during the Tang and Song Dynasties but most of it gradually vanished. On the other hand, during the 500 years of the Ming Dynasty and Qing dynasties study of the qin flourished, and since the establishment of modern China qin gatherings have become a popular pursuit all over the country. Throughout history, qin players have highly treasured their art form. Their hand copied or printed music scores have passed their music to later generations.

One quality of the qin is to befriend nature - springs, rocks, smoke and clouds - or to retreat and hide in the mountains and forests. It remains in harmony with the sounds of nature, or it may allow its performer to express any emotions and ambitions. Beautiful ancient music can thus be appreciated in the company of oneself, just as beautiful flowers require just one to adore them. This refined aesthetic has meant that the transmission of qin music was often limited to a few. But today, in China, there are numerous qin societies established everywhere. Many cultured people have made it popular as they expressed their ambition to disseminate qin culture more widely. One sees this through the many recently published qin scores as well as through sound and video recordings. Awareness of the qin is growing, and the number of people studying it is also increasing. Throughout the history of the qin it has never been more popular.

We admire and treasure the essences of Chinese heritage. Residing away from its source, and regardless of ethnicity, we seek to center ourselves in the Way of the qin, at the same time putting focus on the arts and humanities. We adopt the qin tradition in this new geographical area and do research into similarities and differences between the West and China. We seek the voice of friendship with those whom we have not yet met, hoping to make the acquaintance of those with whom we share a similar frame of mind.

We have stretched our strings and tuned our pegs for over two years. The outcome of the spring harvest cannot be foreseen, but it is now time to plow hard. Although we are ten thousand miles away from its spiritual heartland (Shenzhou) we feel we can still achieve our goals. Seeking pure music with elegant modality, we pick up once more the treasured music of antiquity.

We take pride in trying to stand together with those who are better established and more qualified. We endeavor to raise our level to that of the correct spirit. Even when we have "no strings under our fingers", we understand the joy of the qin. Today's sounds and those of the ancients have gone on different paths, but eventually they culminate at one point. The Chinese and the West, though two different realms, are harmonized at the core. For everyone who feels the same as we do, we will pick a flower, light incense and make a wish.

These are our words. We are grateful for your encouragement and appreciation.

Alan J. Berkowitz, Peiyou Chang, Stephen Dydo, Matthew Flannery, Holly Grinnell, Bunching Lam, Bo Lawergren, John Thompson, Marilyn Wong-Gleysteen, Mingmei Yip, Jung-Ping Yuan

October 15, 2002

Agreement