This move to a much more technical approach signifies a progression in qin study and appreciation; holding on to too much old values tends to impede the transmission of qin. An example would be composition. Although around 60-odd new compositions have been composed for the qin since the 1960s, all in all, no one plays them. The reason is that many believe these new compositions do not compare with ancient scores. But technically, these ancient scores were new at the time when they were composed. Some fear that in 100 years' time, people then might say that we have contributed nothing new to qin. That is not to say that the qin cannot be viewed in a traditional way, but to say that the qin is also capable of a progression into new territory. There is no reason why players cannot embrace both traditional and scientific study of the qin.