This study explores the philosophical and religious dimensions of Lusheng musical instruments in the Qiandongnan Miao and Dong Autonomous Prefecture, Guizhou Province, China. The study's qualitative research method involved conducting interviews and observations, and the use of qualitative research design grounded in ethnomusicological theory and philosophical and religious frameworks. A purposive sampling technique was used to identify participants comprising musicians, community leaders, artisans, religious figures, and elders having extensive knowledge about Lusheng traditions. A thematic content analysis approach was used (...) to analyze the data collected. The results of the study reveals that the Miao and Dong communities deeply integrate one Lusheng instrument, a traditional reed-pipe, into their cultural, spiritual, and social fabric. The research highlights Lusheng’s significance in religious ceremonies such as funerals and the Drum Zang Festival, where it functions as a sacred medium, facilitating communication with ancestors and deities. Philosophically, Lusheng music embodies communal unity, continuity and the interconnectedness of life and death. Economically, Lusheng music supports local artisans and performers, contributing to the region’s economy through its production and performance during festivals and tourist attractions. Educationally, Lusheng music fosters cultural identity, religious understanding, and artistic expression, ensuring its transmission across generations. Through formal and informal educational programs, the Lusheng remains a vibrant part of community life, blending tradition with creative innovation. The study underscores the importance of preserving Lusheng as both a cultural and spiritual artifact, enriching the lives of the Miao and Dong people while maintaining its relevance in the modern world. (shrink)

The development of the Niujiao Qin for contemporary cultural transmission in Aba Prefecture, China, is a multifaceted task that includes cultural heritage protection, adaptation, and rejuvenation. Significant changes in the structure, tuning system, and musical performance of the Niujiao Qin occurred between AD 618 and 1980, reflecting the region's rich cultural context. These transformations contributed to cultural contacts, artistic manifestations, and larger socio-cultural tendencies. Since 1980, significant progress has been made in Tibetan music culture, academic trends, and instrument (...) reform, demonstrating efforts to revitalize traditional heritage while incorporating new ideas. The Niujiao Qin's evolution demonstrates the complex interplay of tradition, innovation, and globalization in Aba Prefecture's cultural scene. The challenges include preserving the instrument's cultural core, combining tradition with modern demands, and rekindling enthusiasm among younger generations. By embracing tradition and innovation, encouraging collaboration, and engaging in education and outreach, stakeholders can effectively manage these hurdles and ensure Niujiao Qin's continued life and relevance in the cultural environment of Aba Prefecture. (shrink)

The qin 琴, a seven-stringed plucked musical instrument, occupies a unique status in Chinese cultural history. By the time it was established as the musical embodiment of classical tradition and literati culture in the Song dynasty, it had become an exchangeable commodity. While literary writings composed before the Song rarely focused on its monetary value, the unprecedentedly vibrant commercial world recast the qin, hitherto an aristocratic or scholarly pursuit, as a commodity that affected the life of the (...) literati. This article examines how the literati worked through the conflicting values brought by the commodification of the qin to create and reinterpret its new meaning as an object with both cultural and monetary value. The commercial mechanism that the literati took part in also brought about changing characterizations in the connoisseurship of the qin. The astute perception of sound was no longer the sole criterion for appraisal, which now included familiarity with the qin’s physicality and knowledge of its craftsmanship. Behind the ostensible monopoly of the literati discourse on the qin, there was an economic and social network in which different groups participated—groups that together defined the cultural and commercial values of the qin. (shrink)