古琴在中国有着悠久的历史。魏晋以降,随着琴徽的使用和记谱法的改进,对古琴形制、调弦定律、旋宫犯调等问题的理论探讨也逐渐由寡及众、自浅而深,先后有朱熹、汪芝、朱载堉、钱塘、邹敬甫、刘沃森等琴家的相关研究成果问世。由于受到各类条件的制约,这些论述不同程度地存在着良莠不齐、菁芜互见的现象,虽经王光祈、杨荫浏、查阜西、沈知白、缪天瑞、黄翔鹏等多位现当代前辈学者爬梳剔抉、剖析辨证,但在琴律学研究领域仍 Guqin in China has a long history. With the use of the Qin emblem and the improvement of the notation method, the theoretical discussion on the problems of the Guqin form, the tuning rule and the rotation of the revolving palace has gradually become more and more popular and shallow and deep. Zhu Xi, Wang Zhi, Zhu Zaiyi, Qiantang, Zou Jingfu, Liu Watson and other piano-related research results come out. Due to the restriction of all kinds of conditions, these expositions have varying degrees of heterogeneity and heterogeneity. Although many modern and contemporary scholars such as Wang Guangqi, Yang Yin-liu, Cha Fuxi, Shen Bai, Miu Tianrui, Huang Xiangpeng and others Jue, analysis of dialectical, but still in the field of piano law research