A Hong Kong qin musician who studied under Tsar Teh-yun, Lau actively promoted the art in the 1980s. Her music, played on silk strings, can be found in the albums, The Water Immortal, and A musical Reconstruction of Jiang Baishi’s Lyrics which she produced. Lau also produced and scripted the documentary, The Heart of Qin in Hong Kong.

Sou took lessons in xiao and dizi under Wong Kuen in his early years; and later, qin from Tsar Teh-yun and qin-making from Choi Chang-sau. He is chairman of Deyin Qin Society. Sou has performed in mainland China, Hong Kong, Taiwan, Japan, Europe and the US. He has participated in recordings of qin music collections, and two recordings of songs by Jiang Kui of the Song Dynasty. Sou’s solo albums are Dialogue of the Fisherman and the Woodcutter by Swiss publisher VDE-GALLO, and Echoes from Antiquity and Pure Tones of Antiquity by Hugo Productions, Hong Kong; which won awards in France and China respectively.

Tse holds a PhD in ethnomusicology from The Chinese University of Hong Kong (CUHK). He studied music theory and composition under Kwan Shing-yau in the 1970s and qin under Kwan Shing-yau, Lau Chor-wah and Tsar Teh-yun in the 1980s. He is an active teacher, researcher, old score reconstructor, and qin composer. Tse has published over 40 articles on qin music and other topics in Chinese music; two personal albums in 2001 and 2011 respectively; and a collection of academic papers, compositions, and reconstructions in 2016. A retired medical practitioner, Tse is vice-chairman of Deyin Qin Society, a qin instructor, and research associate of the CUHK Music Department.

An active figure in the Hong Kong guqin community, Chung Siu-sun is general officer of Deyin Qin Society. He is a pupil of Sou Si-tai, studying both qin and xiao. Chung began apprenticing under Choi Cheung-sau in 2011. He was a music student under the tutelage of Nancy Loo at Hong Kong Baptist University. Chung has performed in mainland China, Japan, the US and Taiwan. He has given lectures and demonstrations at institutions including The Chinese University of Hong Kong, The University of Hong Kong, and The Education University of Hong Kong. Notably, he compiled and interpreted the music of Song Dynasty poet Jiang Baishi at the University of Michigan. Chung’s articles and guqin crafted by him can be found in the Hong Kong Heritage Museum and the publication The Legend of Silk and Wood: A Hong Kong Qin Story (2014). More recently, he contributed his expertise to the album Gem of Ci Poetry Music (2016), and published an essay on guqin practice in Qin Studies in Hong Kong (2020).

Lecturer in the School of Chinese, The University of Hong Kong, Lee holds a PhD in Chinese language and literature from The Chinese University of Hong Kong. He is a committee member of Deyin Qin Society, and a researcher at the New Asia Institute of Advanced Chinese Studies and the Centre for Chinese Cultural Heritage, Hong Kong Baptist University. Lee learnt qin under Lau Chor-wah.

Hong Kong-born Ng Ying-wai is a retired nurse. She has learnt various Chinese musical instruments and played qin for over 30 years. Her qin teachers were, in chronological order, Tse Chun-yan, Gong Yi, and Yao Gongbai. Ng also learnt qin-making from Choi Chang-sau. In both mainland China and Hong Kong, Ng has performed, exhibited, exchanged with other artists, and given lectures and demonstrations to school students. She is a committee member of Deyin Qin Society, and a member and qin teacher of the Choi Chang Sau Qin Making Society. Ng has a solo album titled Moonlight in Gentle Breeze; her audio-visual recordings are collected in Heavenly Sounds Beyond the World.

Doctoral candidate in art history at New York University, Yiu is deputy director of Jao Tsung-I Petite Ecole, HKU, and a committee member of Deyin Qin Society. He learnt qin under Tse Chun-yan. He has published articles on qin music, including “The Liu School of Guqin Music in the Yuan and Ming Dynasties” and “Echoes of Ancient Tunes from Distant Mountains: Prof. Jao Tsung-i's Guqin Recording Made in Switzerland, 1979”. Yiu’s research on Zhonghe No. 146, the qin crafted by the Ming Prince of Lu previously in the Robert van Gulik collection, has been published in Zhonghe, a special publication dedicated to the instrument.

Wong learned yangqin from Li Wai-kok in his school days and has won multiple awards at the Hong Kong Schools Music Festival. After university, he studied piano and music theory under May Wong. In 2010, Wong started qin studies under Tse Chun-yan. A professional IT architect, he has assisted Tse in publishing academic papers related to the physical properties of qin strings as well as tonal analysis. Wong has been living in Australia since 2021.

Chan Chi-kong learnt Cantonese opera from his father Chan Pak-ding; dizi from Zhang Xianghua, Lam Si-kwan and Sun Yongzhi; and huqin from Ouyang Ting. He graduated from The Hong Kong Academy for Performing Arts in 2010, majoring in Cantonese opera music accompaniment. In 2012, Chan founded The Gong Strikes One, a group that creates original works preserving the musicality and theatricality of traditional Chinese theatre, and embraces a range of performance modalities, including concerts, story-telling concerts, theatre and improvisation. Some key projects: Hong Kong Music Miniatures (2021), an online collection of newly written mini-music; Between the Notes (2022), a research on the gongche notations of early Cantonese operatic songs published in Hong Kong; and recently, a nanyin audio book featuring classic tales from early “wooden-fish books”.

Principal flautist, Greater Bay Philharmonic Orchestra; dizi artist, Hua Xia Music Association. Wu graduated from The Hong Kong Academy for Performing Arts, majoring in dizi and flute, under the tutelage of Cheung Heung-wah and Timothy Wilson respectively. He earned a Master of Arts in music education from The Education University of Hong Kong in 2013, specialising in flute performance and pedagogy. Wu has served as full-time musician in the Singapore Chinese Orchestra, part-time musician in the Hong Kong Chinese Orchestra, and part-time flautist in the Singapore Lyric Theatre Orchestra.

Deyin Qin Society was founded in 1998 by the disciples of Tsar Teh-yun, a distinguished guqin master, with the aim of promoting Tsar’s legacy. Since its establishment, the society has organised regular gatherings, music exchanges, exhibitions and performances, and published extensively to promote the art of guqin.