by Bo Ya when he was brought to Mount Penglai and stayed alone, inspired by the sound in the nature. It is Bo Ya's first famous Guqin music piece. Huailingcao Huailingcao(怀陵操) was composed by Bo Ya, which contains intense and passionate sound. Legacy Music The qin pieces composed by Bo Ya were widely spread and recognized in China and enjoyed a high reputation, especially the most famous piece called High Mountains and Flowing Water(Gao Shan Liu Shui). This qin piece is broadly accepted in China as one of the top ten famous traditional Chinese music pieces, as it describes the majesty, depth, solemnity and nobility of mountains, and the harmony between flowing water and mountains. It has a high aesthetic and musical value which reminds people of a spring of fresh water merrily flowing down a mountain, and the waves playfully rising. In 1977, Guan Pinghu's performance of "Flowing Water" was recommended by composer Chou Wen-chung to the National Aeronautics and Space Administration(NASA) and included in the Voyager Golden Record by NASA as a representative of Chinese music works. The story of Bo Ya also reflects the meaning and significance of traditional qin music in ancient China. China's qin music is historically associated with the literati, and the general purpose of the literati playing qin pieces is not for the audience, but for themselves. They think music is an expressive art, and the priority is to serve themselves rather than the audience. Therefore, the criteria to judge and assess their music should meet the musician's personal aesthetic standards, and show obvious differences from the generally accepted ones, which thus indicates the unique personal taste of the musician. This is reflected by the story of Bo Ya finding his Zhiyin, who really understands his music and knows his mind. In this story, Bo Ya consider Ziqi as his Zhiyin, putting him in such a high status, for he is only one who understands his works of art and meets his criteria. This story of Bo Ya shows the general attitude of qin players toward playing in ancient China: the pursuit of aesthetic and the realization of personal musical standards. Bo Ya's playing style is also unique and superb, which could provoke a connection with literature. As Francesca points out in his work, "Bo Ya's performance on the qin is not actually heard or imitated in the telling of the story, but