ABSTRACT
The revival of shengguan music after the Cultural Revolution at Wutaishan depended on the existence of masters willing and able to teach the music, as well as disciples willing and able to learn it. The traditional means of teaching and learning music in Wutaishan's monasteries is in many ways good for the preservation of shengguan practice. Much of shengguan performance practice is passed down orally rather than in writing. Several monastic leaders, journalists and government officials have put forth ideas for the improvement of shengguan transmission at Wutaishan. Shi Miaojiang believes that Wutaishan Buddhist music cannot be truly revived unless all of the experts in that music can be gathered together to teach in a centralized music training facility. Shi Miaojiang's idea of a centralized facility for the transmission of Buddhist music would provide stability in the practice and transmission of shengguan music, but in such a setting music teaching would likely have to take the form of classroom instruction.
