Music of China

Music of China refers to the music of the Chinese people, which may be the music of the Han Chinese as well as other ethnic minorities within mainland China. It also includes music produced by people of Chinese origin in some territories outside mainland China using traditional Chinese instruments or in the Chinese language. It covers a highly diverse range of music from the traditional to the modern.

Different types of music have been recorded in historical Chinese documents from the early periods of Chinese civilization which, together with archaeological artifacts discovered, provided evidence of a well-developed musical culture as early as the Zhou dynasty (1122 BC – 256 BC). These further developed into various forms of music through succeeding dynasties, producing the rich heritage of music that is part of the Chinese cultural landscape today. Chinese music continues to evolve in the modern times, and more contemporary forms of music have also emerged.

Music of China
General topics
Specific forms
Media and performance
Music festivalsMidi Modern Music Festival
Music media
Nationalistic and patriotic songs
National anthem
Regional music


Shanghai Museum 2006 17-15
Lively musicians playing a bamboo flute and a plucked instrument, Chinese ceramic statues from the Eastern Han period (25–220 AD), Shanghai Museum

According to legends, the founder of music in Chinese mythology was Ling Lun who, at the request of the Yellow Emperor to create a system of music, made bamboo pipes tuned to the sounds of birds including the phoenix. A twelve-tone musical system was created based on the pitches of the bamboo pipes, the first of these pipes produced the "yellow bell" (黃鐘) pitch, and a set of tuned bells were then created from the pipes.[1][2]

Early history

Paintings on north wall of Xu Xianxiu Tomb
A mural from the tomb of Xu Xianxiu in Taiyuan, Shanxi province, dated 571 AD during the Northern Qi Dynasty, showing male court musicians playing stringed instruments, either the liuqin or pipa, and a woman playing a konghou (harp)
Gu Hongzhong's Night Revels 2
A half-section of the Song dynasty (960–1279) version of the Night Revels of Han Xizai, the original was by Gu Hongzhong in the Five Dynasties and Ten Kingdoms period (907–960);[3] the female musicians in the center of the image are playing transverse bamboo flutes and guan, and the male musician is playing a wooden clapper called paiban.

Archaeological evidence indicates that music culture developed in China from a very early period. Excavations in Jiahu Village in Wuyang County, Henan found bone flutes dated to 8,000 years ago, and clay music instruments called Xun thought to be 6,000 years old have been found in the Hemudu sites in Zhejiang and Banpo in Xi'an.[4]

During the Zhou dynasty, a formal system of court and ceremonial music later termed yayue (meaning "elegant music") was established. Note that the word music (樂, yue) in ancient China can also refer to dance as music and dance were considered integral part of the whole, and its meaning can also be further extended to poetry as well as other art forms and rituals.[5] The word "dance" (舞) similarly also referred to music, and every dance would have had a piece of music associated with it. The most important set of music of the period was the Six-dynasty Music Dance (六代樂舞) performed in rituals in the royal court.[6] Music in the Zhou Dynasty was conceived as a cosmological manifestation of the sound of nature integrated into the binary universal order of yin and yang, and this concept has enduring influence later Chinese thinking on music.[7] "Correct" music according to Zhou concept would involve instruments correlating to the five elements of nature and would bring harmony to nature. Around or before the 7th century BC, a system of pitch generation and pentatonic scale was derived from a cycle-of-fifths theory.[7]

Chinese philosophers took varying approaches to music. To Confucius, a correct form of music is important for the cultivation and refinement of the individual, and the Confucian system considers the formal music yayue to be morally uplifting and the symbol of a good ruler and stable government.[8] Some popular forms of music, however, were considered corrupting in the Confucian view.[9] Mozi on the other hand condemned making music, and argued in Against Music (非樂) that music is an extravagance and indulgence that serves no useful purpose and may be harmful.[10] According to Mencius, a powerful ruler once asked him whether it was moral if he preferred popular music to the classics. The answer was that it only mattered that the ruler loved his subjects.

In ancient China the social status of musicians was much lower than that of painters, though music was seen as central to the harmony and longevity of the state. Almost every emperor took folk songs seriously, sending officers to collect songs to record the popular culture. One of the Confucianist Classics, The Classic of Poetry, contained many folk songs dating from 800 BC to about 400 BC.

Qin to Qing dynasty

The Imperial Music Bureau, first established in the Qin dynasty (221–207 BC), was greatly expanded under the emperor Han Wudi (140–87 BC) and charged with supervising court music and military music and determining what folk music would be officially recognized. In subsequent dynasties, the development of Chinese music was influenced by the musical traditions of Central Asia which also introduced elements of Indian music.[11][12] Instruments of Central Asian origin such as pipa were adopted in China, the Indian Heptatonic scale was introduced in the 6th century by a musician from Kucha named Sujiva, although the heptatonic scale was later abandoned.[13][14][11]

The oldest extant written Chinese music is "Youlan" (幽蘭) or the Solitary Orchid, composed during the 6th or 7th century, but has also been attributed to Confucius. The first major well-documented flowering of Chinese music was for the qin during the Tang dynasty (618-907AD), though the qin is known to have been played since before the Han dynasty. This is based on the conjecture that because the recorded examples of Chinese music are ceremonial, and the ceremonies in which they were employed are thought to have existed "perhaps more than one thousand years before Christ",[15] the musical compositions themselves were performed, even in 1000 BC, in precisely the manner prescribed by the sources that were written down in the seventh century AD. (It is based on this conjecture that Van Aalst dates the "Entrance Hymn for the Emperor" to c. 1000 BC.)[15]

Yangguan Sandie [Three Refrains on the Yang Pass Theme], one of the great Tang masterpieces found in the Qinxue Rumen (1867) played on qin.

Through succeeding dynasties over thousands of years, Chinese musicians developed a large assortment of different instruments and playing styles. A wide variety of these instruments, such as guzheng and dizi are indigenous, although many popular traditional musical instruments were introduced from Central Asia, such as the erhu and pipa.

The presence of European music in China appeared as early as 1601 when the Jesuit priest Matteo Ricci presented a Harpsichord to the Ming imperial court, and trained four eunuchs to play it.[16] During the late Qing dynasty era, the influence of Western music began to be felt.[17]

Republic of China era (1912–1949)

Blind Chinese Street Musician - Beijing (1930)
Blind Chinese Street Musician - Beijing (1930)
Earliest form of the 1935 Volunteers Marching On anthem
The earliest forms of the 1935 March of the Volunteers anthem in the Denton Gazette newspaper

The New Culture Movement of the 1910s and 1920s produced a great deal of lasting interest in Western music. A number of Chinese musicians returned from studying abroad to perform Western classical music, composing work hits on Western musical notation system. The Kuomintang tried to sponsor modern music adoptions via the Shanghai Conservatory of Music despite the ongoing political crisis. Twentieth-century cultural philosophers like Xiao Youmei, Cai Yuanpei, Feng Zikai and Wang Guangqi wanted to see Chinese music adopted to the best standard possible. There were many different opinions regarding the best standard.[16]

Symphony orchestras were formed in most major cities and performed to a wide audience in the concert halls and on radio. Many of the performers added jazz influences to traditional music, adding xylophones, saxophones and violins, among other instruments. Lü Wencheng, Qui Hechou, Yin Zizhong and He Dasha were among the most notable performers and composers of this period.

In Shanghai, a popular genre of music called shidaiqu emerged in the 1920s. Shidaiqu is a fusion of Chinese and Western popular music, and Li Jinhui is considered to be founder of the genre. Popular singers in this genre in the 1930s and 1940s included Zhou Xuan, Li Xianglan and Yao Lee.

After the 1942 Yan'an Forum on Literature and Art, a large-scale campaign was launched in the Communist controlled areas to adapt folk music to create revolutionary songs to educate the largely illiterate rural population on party goals. Musical forms considered superstitious or anti-revolutionary were repressed, and harmonies and bass lines were added to traditional songs. One example is The East Is Red, a folksong from northern Shaanxi which was adapted into a nationalist hymn. Of particular note is the composer, Xian Xinghai, who was active during this period, and composed the Yellow River Cantata which is the most well-known of all of his works.


The golden age of shidaiqu and the Seven great singing stars would come to an end when the Communist party denounced Chinese popular music as yellow music (pornography).[18] Maoists considered pop music as a decline to the art form in mainland China. In 1949 the Kuomintang relocated to Taiwan, and the People's Republic of China was established. Revolutionary songs would become heavily promoted by the state. The Maoists, during the Cultural Revolution, pushed revolutionary music as the only acceptable genre; because of propaganda, this genre largely overshadowed all others and came almost to define mainland Chinese music. This is still, in some ways, an ongoing process, but some scholars and musicians (Chinese and otherwise) are trying to revive old music.

After the Tiananmen Square protests of 1989, a new fast tempo Northwest Wind (xibeifeng, 西北風) style was launched by protesters to counter the government. The music would progress into Chinese rock, which remained popular in the 1990s. However, music in China is very much state-owned as the TV, media, and major concert halls are all controlled by the Communist party. The government mainly chose not to support Chinese rock by limiting its exposure and airtime.As a result, the genre never reached the mainstream in its entirety.


Annual events such as the Midi Modern Music Festival in Beijing attracts tens of thousands of visitors. There was also the "Snow Mountain Music Festival" in Yunnan province 2002.

Today, rock music is centered on almost exclusively in Beijing and Shanghai, and has very limited influence over Chinese society. Wuhan and Sichuan are sometimes considered pockets of rock music culture as well. It points to a significant cultural, political and social difference that exist between China, the West, or even different parts within China. While rock has existed in China for decades, the milestone that put the genre on the international map is when Cui Jian played with The Rolling Stones in 2003, at the age of 42. China has also become a destination of major Western rock and pop artists; many foreign acts have toured in China and performed in multiple concerts in recent decades, including Beyonce, Eric Clapton, Nine Inch Nails, Avril Lavigne, Linkin Park and Talib Kweli.[19]

Mainland China has a high piracy rate along with issues of intellectual properties.[20] Normally there is some delay before the products are released into mainland China, with occasional exceptions, such as the work of Cui Jian who was released in Taiwan, Hong Kong and mainland China simultaneously.[21] Consequently, a delay in release time is also the biggest driver of piracy, since individuals would rather pirate from the outside. The modern market is not only hindered by rights issues, as there are many other factors such as profit margin, income and other economical questions.

In 2015, the digital music market in China was expected to be worth US$2.1 billion.[22] In 2015 China had the 14th largest music market in the world, with revenues of US$170 million.[23][24] As of 2016 there were 213 music charts in China.[25] Also as of 2016, the three largest music streaming and download services in China are KuGou, with a 28% share of the market, QQ Music with 15% and Kuwo with 13%.[26] China is expected to become one of the largest music markets in the world by 2020.[27]

Traditional music


Musical instruments were traditionally classified into 8 categories known as bayin.[7] Traditional music in China is played on solo instruments or in small ensembles of plucked and bowed stringed instruments, flutes, and various cymbals, gongs, and drums. The scale is pentatonic. Bamboo pipes and qin are among the oldest known musical instruments from China; instruments are traditionally divided into categories based on their material of composition: animal skins, gourd, bamboo, wood, silk, earth/clay, metal, and stone. Chinese orchestras traditionally consist of bowed strings, woodwinds, plucked strings and percussion.

The Moon reflecting in Erquan Pool, a masterpiece written for erhu by the blind composer Abing.
Zuiyu Changwan (The Evening Song of the Drunken Fisherman) for qin from the Tianwen Ge Qinpu (1876).
  • Woodwind and percussion
dizi, suona, sheng, paigu, gong, paixiao, guan, bells, cymbals, hulusi
  • Bowed strings
erhu, zhonghu, dahu, banhu, jinghu, gaohu, gehu, yehu, cizhonghu, diyingehu, leiqin
  • Plucked and struck strings
guqin, sanxian, yueqin, yangqin, guzheng, ruan, konghou, liuqin, pipa, zhu
Re-enactment of a traditional music performance at Hubei Provincial Museum in Wuhan.

Chinese vocal music has traditionally been sung in a thin, non resonant voice or in falsetto and is usually solo rather than choral. All traditional Chinese music is melodic rather than harmonic. Chinese vocal music probably developed from sung poems and verses with music. Instrumental pieces played on an erhu or dizi are popular, and are often available outside of China, but the pipa and zheng music, which are more traditional, are more popular in China itself. The qin is perhaps the most revered instrument in China, even though very few people know what it is or seen and heard one being played. The zheng, a form of zither, is most popular in Henan, Chaozhou, Hakka and Shandong. The pipa, a kind of lute, believed to have been introduced from the Arabian Peninsula area during the 6th century and adapted to suit Chinese tastes, is most popular in Shanghai and surrounding areas.

Music of the Han culture

People of the Han ethnic group make up about 92% of the population of China. Han people's music consists of heterophonic music, in which the musicians play versions of a single melodic line. Percussion accompanies most music, dance, talks, and opera. Han Folk Music had many aspects to it regarding its meaning, feelings, and tonality. This genre of music, in a sense, is similar to the Chinese language. This relationship is made by tones, sliding from higher tones to lower tones, or lower to higher tones, or a combination of both. These similarities mean that the instrument is a very important part in mastering technique with both left and right hands (left hand is used to create tonality on the string, right hand is for plucking or strumming the string), particularly for the classical (literati) tradition. Sometimes, singing can be put into the music to create a harmony or a melody accompanying the instrument. Han Chinese Folk's feelings are displayed in its poetry-like feeling to it with slow soothing tempos that express feelings that connect with the audience or whoever is playing the piece. Han folk music uses silences that alter its meaning, creating a sound similar to poetry.

Beijing opera06
Performers in Peking Opera.

Chinese opera

Chinese opera has been a popular form of entertainment for many centuries, from the Nanxi of Song dynasty to the Peking opera of today. The music is often guttural with high-pitched vocals, usually accompanied by suona, jinghu, other kinds of string instruments, and percussion. Other types of opera include clapper opera, Pingju, Cantonese opera, puppet opera, Kunqu, Sichuan opera, Qinqiang, ritual masked opera and Huangmei xi.

Folk music

According to current archaeological discoveries, Chinese folk music dates back 7000 years. Not only in form but also in artistic conception, China has been the home of a colorful culture of folk music. Largely based on the pentatonic scale, Chinese folk music is different from western traditional music, paying more attention to the form expression as well.

Han traditional weddings and funerals usually include a form of oboe called a suona and percussive ensembles called chuigushou. Ensembles consisting of mouth organs (sheng), shawms (suona), flutes (dizi) and percussion instruments (especially yunluo gongs) are popular in northern villages; their music is descended from the imperial temple music of Beijing, Xi'an, Wutai shan and Tianjin. Xi'an drum music, consisting of wind and percussive instruments, is popular around Xi'an, and has received some commercial popularity outside of China. Another important instrument is the sheng, pipes, an ancient instrument that is ancestor of all Western free reed instruments, such as the accordion. Parades led by Western-type brass bands are common, often competing in volume with a shawm/chuigushou band.

In southern Fujian and Taiwan, Nanyin or Nanguan is a genre of traditional ballads. They are sung by a woman accompanied by a xiao and a pipa, as well as other traditional instruments. The music is generally sorrowful and typically deals with a love-stricken woman. Further south, in Shantou, Hakka and Chaozhou, erxian and zheng ensembles are popular.

Sizhu ensembles use flutes and bowed or plucked string instruments to make harmonious and melodious music that has become popular in the West among some listeners. These are popular in Nanjing and Hangzhou, as well as elsewhere along the southern Yangtze area. Sizhu has been secularized in cities but remains spiritual in rural areas.

Jiangnan Sizhu (silk and bamboo music from Jiangnan) is a style of instrumental music, often played by amateur musicians in tea houses in Shanghai; it has become widely known outside of its place of origin.

Guangdong Music or Cantonese Music is instrumental music from Guangzhou and surrounding areas. It is based on Yueju (Cantonese Opera) music, together with new compositions from the 1920s onwards. Many pieces have influences from jazz and Western music, using syncopation and triple time. This music tells stories and myths, maybe legends.

Vocal percussion

Kouji is the Chinese vocal percussion.

Regional music

Miao musicians
Miao musicians playing free-reed instruments in Guizhou

China has many ethnic groups besides the Han, who reside in various regions around the nation. These include Tibetans, Uyghurs, Manchus, Zhuang, Dai, Mongolians, Naxi, Miao, Wa, Yi, and Lisu.


Guangxi is a region of China, the Guangxi Zhuang Autonomous Region. Its most famous performer of Guangxi is the legendary Zhuang folksinger, 刘三姐 (Pinyin:liú sān jiě) or Third Sister Liu, born in Guangxi during the Southern Song Dynasty (1127-1279) and who was the subject of the 1961 film, Liu Sanjie which introduced Guangxi's culture to the rest of the world.[28]

Zhuang folk songs and Han Chinese music are a similar style, and are mostly in the pentatonic scale. The lyrics have an obvious antithesis format. They frequently contain symbols and metaphors, and common themes include life experiences as well as allusions to classical Chinese stories.

The Jing or Gin people (ethnic Vietnamese) are one of the smallest populations of ethnic and the only coastal fishery ethnic minority of China. They are known for their instrument called duxianqin (lit. "single string zither"), a string instrument with only one string, said to date back to the 8th century.

Hong Kong

The music of Hong Kong notably includes the Cantonese Chinese pop music known as cantopop.


Hua'er is a form of traditional a cappella singing that is popular in the mountainous northwestern Chinese provinces such as Gansu, Ningxia, and Qinghai.

Inner Mongolia

Mongolian folk songs have a "long tune" and a "short tune". The Mongolians have a variety of stringed instruments such as morin khuur or horsehead fiddle. It is named because of its headstock carving of a horse used as decoration on the pillar.


There are Korean communities scattered across northeast China. Chinese Korean music and North/South Korea music are basically the same. The main instruments are the long drum and the Gayageum. The Gayageum is similar to the ancient Chinese zither, which was smaller than the modern zither. The playing methods are different also.


Kuaiban (快板) is a type of rhythmic talking and singing which is often performed with percussive instruments such as a clapper called paiban. The center of the kuaiban tradition is Shandong province. Kuaiban bears some resemblance to rap and other forms of rhythmic music found in other cultures.

Northeast China

Northeast China is a region inhabited by ethnic groups like the Manchu. The most prominent folk instrument is the octagonal drum, while the youyouzha lullaby is also well-known.


Sichuan is a province in southwest China. Its capital city, Chengdu, is home to the only musical higher education institution in the region, the Sichuan Conservatory of Music. The province has a long history of Sichuan opera.


Monks playing Tibetan horns

Music forms an integral part of Tibetan Buddhism. While chanting remains perhaps the best known form of Tibetan Buddhist music, complex and lively forms are also widespread. Monks use music to recite various sacred texts and to celebrate a variety of festivals during the year. The most specialized form of chanting is called yang, which is without metrical timing and is dominated by resonant drums and sustained, low syllables. Other forms of chanting are unique to Tantra as well as the four main monastic schools: Gelugpa, Kagyupa, Nyingmapa and Sakyapa. Of these schools, Gelugpa is considered a more restrained, classical form, while Nyingmapa is widely described as romantic and dramatic. Gelugpa is perhaps the most popular.

Secular Tibetan music survived the Cultural Revolution more intact than spiritual music, especially due to the Tibetan Institute of Performing Arts, which was founded by the Dalai Lama shortly after his exile. TIPA originally specialized in the operatic lhamo form, which has since been modernized with the addition of Western and other influences. Other secular genres include nangma and toshe, which are often linked and are accompanied by a variety of instruments designed for highly rhythmic dance music. Nangma karaoke is popular in modern Lhasa. A classical form called gar is very popular, and is distinguished by ornate, elegant and ceremonial music honoring dignitaries or other respected persons.

Tibetan folk music includes a cappella lu songs, which are distinctively high in pitch with glottal vibrations, as well as now rare epic bards who sing the tales of Gesar, Tibet's most popular hero.

Tibetan music has influenced the pioneering compositions of Philip Glass and, most influentially, Henry Eichheim. Later artists made new-age fusions by pioneers Henry Wolff and Nancy Hennings. These two collaborated on Tibetan Bells, perhaps the first fusion of New Age and Tibetan influences, in 1971. Glass' Kundun soundtrack proved influential in the 1990s, while the popularity of Western-adapted Buddhism (exemplified by Richard Gere, Yungchen Lhamo, Steve Tibbetts, Choying Drolma, Lama Karta and Kitaro and Nawang Khechong) helped further popularize Tibetan music.

In the mid- to late 1980s, a relaxation of governmental rules allowed a form of Tibetan pop music to emerge in Tibet proper. Direct references to native religion is still forbidden, but commonly understood metaphors are widespread. Pure Tibetan pop is heavily influenced by light Chinese rock, and includes best-sellers like Jampa Tsering and Yatong. Politically and socially aware songs are rare in this form of pop, but commonplace in a second type of Tibetan pop. Nangma karaoke bars appeared in 1998 and are common in Lhasa, in spite of threats from the Chinese government.


Uyghur Meshrep
Uyghur Meshrep musicians in Yarkand.

Xinjiang Uyghur Autonomous Region is dominated by Uyghurs, a Turkic people related to other Turkic groups from Central Asia. The Uyghurs' best-known musical form is the On Ikki Muqam, a complex suite of twelve sections related to Uzbek and Tajik forms. These complex symphonies vary wildly between suites in the same muqam, and are built on a seven-note scale. Instruments typically include dap (a drum), dulcimers, fiddles and lutes; performers have some space for personal embellishments, especially in the percussion. The most important performer is Turdi Akhun, who recorded most of the muqams in the 1950s.


Naxi Musicians I
Nakhi musicians

Yunnan is an ethnically diverse area in southwest China. Perhaps best known from the province is the lusheng, a type of mouth organ, used by the Miao people of Guizhou for pentatonic antiphonal courting songs.

The Hani of Honghe Prefecture are known for a unique kind of choral, micro-tonal rice-transplanting songs.

The Nakhi of Lijiang play a type of song and dance suite called baisha xiyue, which was supposedly brought by Kublai Khan in 1253. Nakhi Dongjing is a type of music related to southern Chinese forms, and is popular today.

The Dai ethnic musical styles are similar to those of South Asia, Myanmar, and Thailand. Some typical Dai instruments are the hulusi and the elephant-foot drum.

Modern changes

In the early 20th century after the end of Imperial China, there were major changes to traditional Chinese music as part of the New Culture Movement. Much of what Westerners and even Chinese now consider to be music in the traditional Chinese style can be dated to this period and is in fact less than 100 years old. The modernization of Chinese music involved the adoption of some aspects of Western forms and values, such as the use of Western conservatory system of teaching, and changes to the instruments and their tuning, the composition, the orchestration of music, the notation system and performance style. Some forms of Chinese music however remained traditional and are little changed.

National music

The term guoyue, or national music, became popular in the early 20th century and was used loosely to include all music written for Chinese instruments in response to a particular nationalistic consciousness.[29] The term however may have a slightly different meaning when used by different Chinese communities. It was originally used only to refer to the music of the Han Chinese; it later began to include music of various ethnic minorities in China. In the Republic of China in Taiwan, Guoyue emphasized music of the mainland China over the Taiwanese local traditions. In mainland China a new term minyue (民乐, short for minzu yinyue or "people's music") was coined post-1949 in place of guoyue to encompass all compositions and genres for traditional instruments. In other Chinese communities, it may also be referred to as huayue (for example in Singapore) or zhongyue (in Hong Kong).[30]

Chinese musicians at a restaurant in Shanghai

Chinese orchestra

There was a tradition of massed instruments in the ritual court music form known as yayue since the Zhou Dynasty. This music may be played by a handful of musicians, or there may be more than 200 for example during the Song Dynasty.[31] During the Tang Dynasty there were also large-scale presentations of banquet music called yanyue (燕樂) in the court. The Tang imperial court may have up to ten different orchestras, each performing a different kind of music. It also had a large outdoor band of nearly 1,400 performers.[32]

The modern Chinese orchestra however was created in the 20th century modeled on Western symphony orchestra using Chinese instruments. In the traditional yanyue, a single dominant melodic line was favored, but the new music and arrangements of traditional melodies created for this modern orchestra is more polyphonic in nature.

Instruments and tuning

Many traditional instruments underwent changes in the early to mid 20th century which has a profound effect on the performance and sound of Chinese music, and a western equal temperament is now used to tune most traditional instruments, which to modern ears seem less harsh and more harmonious but which also robs the instruments of their traditional voices. To ears now used to hearing modern tunings, even Chinese ones, traditional tunings can sound out of tune and discordant.

In order to accommodate Western system, changes were made to the instruments, for example in the pipa the number of frets was increased to 24, based on the 12 tone equal temperament scale, with all the intervals being semitones.

There is also a need to standardize the tuning when the instruments are played in an orchestra, which in turn may also affect how the instrument is made. For example, traditionally dizi is made by using a solid piece of bamboo which made it impossible to change the fundamental tuning once the bamboo is cut. This issue was resolved in the 1920s by the insertion of a copper joint to connect two pieces of shorter bamboo, which allows the length of the bamboo to be modified so that minute adjustment to its fundamental pitch can be made.[33] The Xindi, "new flute", is a 1930s redesign of the Chinese flute incorporating western influences on the basis of equal temperament.

In order to achieve a greater vibrancy and loudness with instruments (not to mention longevity), many string instruments are no longer strung with silk but with steel or nylon. For example, metal strings began to be used in place of the traditional silk ones in the 1950s for pipa, resulting in a change in the sound of the pipa which became brighter and stronger.[34]


Before the 20th century Chinese used the gongche notation system, in modern times the Jianpu system is common. Western staff notation however is also used.


In common with the music traditions of other Asian cultures, such as Persia and India, one strand of traditional Chinese music consists of a repertoire of traditional melodies, together known as qupai, in which tempo and ornamentation vary according to the mood of the instrumentalist, the audience, and their reaction to what is being played, the same melody can be used to serve many different roles be it merry, melancholic or martial (this can be glimpsed in the love theme of the Butterfly Lovers' Violin Concerto where the same melody at different points in the lover's story reflects elation, turbulence and dejection). Many modern performers now play pieces by following a score in a standard way rather than in the changeable reflective individual way of tradition, this can at times lead to the feeling that a performance has been rushed.

Modern popular music

Pop music

Chinese popular[35] music found its beginnings in the shidaiqu genre. The shidaiqu genre was founded by Li Jinhui in mainland China and was influenced by Western jazz artists like Buck Clayton. After the takeover by the Communist in China, popular music were denounced as Yellow Music, a form of pornography.[36] and record companies of Shanghai such as Baak Doi in 1952 left China.[37] Mainland China was left on the sidelines in the development of pop music for a few decades, as the Chinese pop music industry moved from Shanghai to Hong Kong and Taiwan. The 1970s saw the rise of cantopop in Hong Kong, and mandopop in its neighboring country Taiwan.[38]

In the late 1970s, economic reforms by Deng Xiaoping in mainland China led to the introduction of gangtai culture of Hong Kong and Taiwan, and pop music returned to mainland China. However, for a time the government still have a censorious attitude toward pop music; for example, Hong Kong's icon Anita Mui was banned from returning to the mainland concert stage after performing the song "Bad Girl" during the 1990s in China as punishment for what the Chinese government called her rebellious attitude.[39] Nevertheless, pop music continue to increase in popularity in mainland China, and by 2005, China had overtaken Taiwan in term of the retail value of its music sales.[40] The beginning of the 21st century has seen an increasing number of mainland Chinese artists who produced a wide range of Mandarin pop songs and the release of many new albums. However, despite having a much larger population and increasing consumption of Chinese pop music, China is not yet considered a major production hub of pop music.[41]

Many popular mainland Chinese, Hong Kong and Taiwanese music artists were included in promotions for the 2008 Beijing Olympics.

Hip hop and rap

Mandarin rap music gradually became popular in mainland China, especially in Shanghai, Beijing, Chongqing and Sichuan where pop culture is very diverse and modern. Although Chinese perform rap in different dialects and languages, most Chinese hip hop artists perform in China's most popular language: Mandarin.

Cantonese rap is also very diverse in cities such as Guangzhou, Shenzhen and Hong Kong.

Rock and heavy metal

The Peking All-Stars were a rock band formed in Beijing in 1979, by foreigners then resident in the Chinese capital.

The widely acknowledged forefather of Chinese rock is Cui Jian.[21] In the late 1980s he played the first Chinese rock song called: "Nothing To My Name" ("Yi wu suo you"). It was the first time an electric guitar was used in China. He became the most famous performer of the time, and by 1988 he performed at a concert broadcast worldwide in conjunction with the Seoul Summer Olympic Games.[21] His socially critical lyrics earned him the anger of the government and many of his concerts were banned or cancelled. After the Tiananmen Square protests of 1989, he played with a red blindfold around his head as an action against the government.

Following, two bands became famous Hei Bao (Black Panther) and Tang Dynasty. Both started during the late 1980s and early 1990s. Hei Bao is an old-school rock band whose first CD, Hei Bao used the popular English song ("Don't Break My Heart"). Tang Dynasty was the first Chinese heavy metal band. Its first CD "A Dream Return to Tang Dynasty" combines elements of traditional Chinese opera and old school heavy metal. The album was a major breakthrough releasing around 1991/1992.

Around 1994–96: the first thrash metal band, Chao Zai (Overload), was formed. They released three CDs, the last one in cooperation with pop singer Gao Chi of the split-up band The Breathing. At the same time the first nu metal bands were formed and inspired by Western bands such as Korn, Limp Bizkit or Linkin Park. China would have their own with Yaksa, Twisted Machine, AK-47, Overheal Tank.

Black metal is becoming a prominent scene in mainland China, particularly central China.

Punk rock and post-punk

Punk rock first emerged in China in the early 1990s as records from Western punk and post-punk bands were imported into mainland China for the first time. One of the earliest and most renowned punk-influenced Chinese artists was He Yong whose debut album Garbage Dump was released in 1994.

Formed in Nanjing in 1997, post-punk group P.K. 14 are regarded as the most important band in the development of Chinese experimental rock music. The band moved to Beijing in 2001 and released their first album 'Upstairs, Turn Left' the same year. P.K. 14's singer-songwriter Yang Haisong (杨海崧) has also produced many of the Chinese indie music scene's most celebrated albums (including Carsick Cars' 2007 eponymous debut album), working with independent record labels such as Maybe Mars and Modern Sky.[42][43]

Since the early 2000s, Chinese indie music has grown considerably, with homegrown bands such as Carsick Cars, Birdstriking, Re-TROS, Brain Failure, Demerit, Tookoo, AV Okubo, Hang on the Box and Fanzui Xiangfa all embarking on international tours.

Western classical music

Whereas orchestras organised by, run solely by and nearly always exclusive to the expatriate community in China are recorded from the early days of the International Settlement in Shanghai (i.e. 1850s) and a Russian orchestra was in operation in Harbin from the early 20th century,[44] the beginnings of a unique classical music tradition in China lie with the first foreign trained Chinese conductor, Zheng Zhisheng AKA (romanized) Yin Zizhong. Zheng (Yin or Wan depending on romanization) was raised in China's Guangdong province. He was influenced by the Western Church Music at an early age.[45] He studied in Lyons and Paris before returning to China in the 1930s. He became the first Chinese conductor of the Chongqing Symphonic Orchestra.[46] Their performances included compositions from Beethoven and Mozart.[46]

The revolutionary spirit of Yin Zizhong's (or romanized Wan-Chi Chung's) style has been continued by the first generation of composers immediately following the accession of the Chinese Communist Party to power, namely Li Delun and Cao Peng. The former provided the driving force and often the life force that kept a tradition alive through the Mao years, especially in his adopted city of Beijing, and the latter has been instrumental in maintaining a high standard of symphonic music, as well as working hard for the popularization of the tradition further into the fabric of Chinese culture, across his long career, which continues to the present. At the same time as this tradition has continued, new generations have sought to bring classical music in China along another path, away from the strict professionalism of the elite trained Li and Cao (who were both at the Russian conservatory in the 1950s) and towards a less nationalistic, but arguably more encompassing attitude towards the tradition. Most influential in this new movement has been the young Shanghai conductor Long Yu.

Patriotic / revolutionary music

A typical PRC national song album branded to be sold outside of mainland China. Songs include The Internationale, The East is Red and many others

During the height of the Cultural Revolution, political music became the dominant form. Music accelerated at the political level into "Revolutionary Music" leaning toward cult status and becoming mainstream under pro-Communist ideology. Jiang Qing introduced the revolutionary model operas under her direct supervision; the eight Model Dramas (6 operas and 2 ballets) were promoted while traditional operas were banned. Notable examples are the operas The Legend of the Red Lantern and Taking Tiger Mountain by Strategy, and the ballet pieces Red Detachment of Women and The White Haired Girl.[47][48] Other forms of musical composition and performance were greatly restricted. After the Cultural Revolution, musical institutions were reinstated and musical composition and performance revived.

Some of the more widely known political songs are Military Anthem of the People's Liberation Army,[49] The East is Red, and the Internationale.

See also

Notes and references

  1. ^ Gary Marvin Davison; Barbara E. Reed (1998). Culture and Customs of Taiwan. Greenwood. ISBN 978-0313302985.
  2. ^ Sterckx, Roel (2000). "Transforming the Beasts: Animals and Music in Early China". T'oung Pao. 86 (1/3): 1–46. doi:10.1163/15685320051072672. JSTOR 4528831.
  3. ^ Patricia Ebrey (1999), Cambridge Illustrated History of China, Cambridge: Cambridge University Press, p. 148.
  4. ^ Jin Jie (3 March 2011). Chinese Music. Cambridge University Press. p. 4. ISBN 978-0521186919.
  5. ^ Faye Chunfang Fei, ed. (2002). Chinese Theories of Theater and Performance from Confucius to the Present. University of Michigan Press. p. 3. ISBN 978-0472089239.
  6. ^ Jin Jie (3 March 2011). Chinese Music. Cambridge University Press. pp. 11–12. ISBN 978-0521186919.
  7. ^ a b c Don Michael Randel, ed. (2003). The Harvard Dictionary of Music (4th ed.). Harvard University Press. pp. 260–262. ISBN 978-0674011632.
  8. ^ Bresler, Liora (2007). International Handbook of Research in Arts Education. Springer. p. 85. ISBN 978-1402029981.
  9. ^ Dorothy Ko; JaHyun Kim Haboush; Joan R. Piggott, eds. (2003). Women and Confucian Cultures in Premodern China, Korea, and Japan. University of California Press. p. 85. ISBN 978-0520231382.
  10. ^ Faye Chunfang Fei, ed. (2002). Chinese Theories of Theater and Performance from Confucius to the Present. University of Michigan Press. pp. 10–13. ISBN 978-0472089239.
  11. ^ a b A History of Sino-Indian Relations: 1st Century A.D. to 7th Century A.D. by Yukteshwar Kumar. p.76 ISBN 978-8176487986
  12. ^ Journal of Music in China, Volume 4, p.4
  13. ^ India and China: Interactions through Buddhism and Diplomacy: A Collection of Essays by Professor Prabodh Chandra Bagchi . p.210 ISBN 978-9380601175
  14. ^ History of Civilizations of Central Asia edited by Unesco
  15. ^ a b Van Aalst 1884.
  16. ^ a b Jones. Andrew F. [2001] (2001). Yellow Music — CL: Media Culture and Colonial Modernity in the Chinese Jazz Age. Duke University Press. ISBN 0-8223-2694-9.
  17. ^ Liu, Jingzhi (2010). A Critical History of New Music in China. The Chinese University Press. ISBN 978-9629963606.
  18. ^ Broughton, Simon. Ellingham, Mark. Trillo, Richard. [2000] (2000) World Music: The Rough Guide. Rough Guides Publishing Company. ISBN 1-85828-636-0.
  19. ^ Sisario, Ben (2007-11-25). "For All the Rock in China". New York Times. Retrieved 11 June 2013.
  20. ^ BuildingIPvalue. "BuildingIPvalue." Recent developments in intellectual property. Retrieved on 2007-04-04.
  21. ^ a b c Gunde, Richard. [2002] (2002) Culture and Customs of China. Greenwood Press. ISBN 0-313-30876-4.
  22. ^ Steven Millward (December 4, 2015). "Already bigger than Spotify, China's search engine giant doubles down on streaming music". Tech In Asia. Retrieved December 4, 2015.
  23. ^ Peoples, Glenn (April 15, 2016). "5 Takeaways From the IFPI's Country-by-Country Report on the Global Record Business". Retrieved August 13, 2016.
  24. ^ Butcher, Asa (April 13, 2015). "Untapped potential in China's music market". CCTV America. Retrieved August 13, 2016.
  25. ^ Lin, Lilian (November 10, 2015). "Billboard Teams With Local Firm to Declare China's No. 1 Song". The Wall Street Journal. Retrieved August 13, 2016.
  26. ^ Zen Soo (July 15, 2016). "Tencent to merge QQ Music service with China Music Corp to create streaming giant". South China Morning Post. Retrieved August 13, 2016.
  27. ^ Chen Nan (December 21, 2015). "Music industry dreaming of China streaming". China Daily. Retrieved August 13, 2016.
  28. ^ "Liu Sanjie - A Fearless Folk Song Singer". Retrieved March 20, 2019.
  29. ^ Lau, Frederick (2007). Music in China. Oxford University Press. pp. 30–34. ISBN 978-0195301243.
  30. ^ Viniti Vaish, ed. (2010). Globalization of Language and Culture in Asia: The Impact of Globalization Processes on Language. Continuum International Publishing Group Ltd. p. 21. ISBN 978-1847061836.
  31. ^ Don Michael Randel, ed. (2003). The Harvard Dictionary of Music (4th ed.). Harvard University Press. pp. 261–262. ISBN 978-0674011632.
  32. ^ Sharron Gu (2011-12-22). A Cultural History of the Chinese Language. McFarland & Company. p. 24. ISBN 9780786488278.
  33. ^ Lau, Frederick (2008). Kai-wing Chow (ed.). Beyond the May Fourth Paradigm: In Search of Chinese Modernity. Lexington Books. pp. 212–215. ISBN 978-0739111222.
  34. ^ The pipa: How a barbarian lute became a national symbol Archived 2011-06-13 at the Wayback Machine
  35. ^ "Cpop World top Chart".
  36. ^ Broughton, Simon; Ellingham, Mark; Trillo, Richard (2000). World Music: The Rough Guide. Rough Guides Publishing Company. p. 49. ISBN 978-1-85828-636-5.
  37. ^ Shoesmith, Brian. Rossiter, Ned. [2004] (2004). Refashioning Pop Music in Asia: Cosmopolitan flows, political tempos and aesthetic Industries. Routeledge Publishing. ISBN 0-7007-1401-4
  38. ^ Peter Tschmuck; John Fangjun Li (2012-12-29). "A brief history of china's music industry – part 3: the recorded music industry in china from the 1950s to the early 2000s". Music Business Research.
  39. ^ Baranovitch, Nimrod. China's New Voices. University of California press. ISBN 0-520-23450-2.
  40. ^ Jeroen de Kloet (2010). China with a Cut: Globalisation, Urban Youth and Popular Music. Amsterdam University Press. p. 171. ISBN 978-9089641625.
  41. ^ Keane, Michael. Donald, Stephanie. Hong, Yin. [2002] (2002). Media in China: Consumption, Content and Crisis. Routledge Publishing. ISBN 0-7007-1614-9
  42. ^ "P.K.14 – Maybe Mars".
  43. ^ "Yang Haisong Is Producing a New Generation of Underground Chinese Rock". May 25, 2017.
  44. ^ [1], additional text.
  45. ^ [2], additional text.
  46. ^ a b [3] Archived 2011-09-30 at the Wayback Machine additional text.
  47. ^ Xing Lu (2004). Rhetoric of the Chinese Cultural Revolution: The Impact on Chinese Thought, Culture, and Communication. University of South Carolina Press. p. 115. ISBN 978-1570035432.
  48. ^ Richard King King, ed. (2010-07-01). Art in Turmoil: The Chinese Cultural Revolution, 1966-76. pp. 174–176. ISBN 9780774859110.
  49. ^ The Anthem of the Chinese People's Liberation Army with subtitles on YouTube


  • Jones, Steven. "The East Is Red... And White"". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific, pp. 34–43. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0.
  • Lee, Joanna. "Cantopop and Protest Singers". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific, pp. 49–59. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0.
  • Lee Yuan-Yuan and Shen, Sinyan. Chinese Musical Instruments (Chinese Music Monograph Series). 1999. Chinese Music Society of North America Press. ISBN 1-880464-03-9.
  • Rees, Helen with Zingrong, Zhang and Wei, Li. "Sounds of the Frontiers". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific, pp 44–48. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0.
  • Shen, Sinyan. Chinese Music in the 20th Century (Chinese Music Monograph Series). 2001. Chinese Music Society of North America Press. ISBN 1-880464-04-7.
  • Trewin, Mark. "Raising the Roof". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific, pp. 254–61. Rough Guides Ltd, Penguin Books. ISBN 978-1858286365
  • Van Aalst, J. A. (1884). Chinese Music. Cambridge University Press. ISBN 9781108045643.
  • The Shansi tune book. China Inland Mission. 1906. p. 30. Retrieved 10 February 2012.(Princeton University)
  • [4] Wei-Jin Sacrificial Ballets: Reform versus Conservatio

External links


The banhu (板胡, pinyin: bǎnhú) is a Chinese traditional bowed string instrument in the huqin family of instruments. It is used primarily in northern China. Ban means a piece of wood and hu is short for huqin.

Like the more familiar erhu and gaohu, the banhu has two strings, is held vertically, and the bow hair passes in between the two strings. The banhu differs in construction from the erhu in that its soundbox is generally made from a coconut shell rather than wood, and instead of a snakeskin that is commonly used to cover the faces of huqin instruments, the banhu uses a thin wooden board.

The banhu is sometimes also called "banghu," because it is often used in bangzi

opera of northern China, such as Qinqiang from Shaanxi province.

The yehu, another type of Chinese fiddle with a coconut body and wooden face, is used primarily in southern China.


C-pop is an abbreviation for Chinese popular music (simplified Chinese: 汉语流行音乐; traditional Chinese: 漢語流行音樂; pinyin: hànyǔ liúxíng yīnyuè; Jyutping: hon3jyu5 lau4hang4 jam1ngok6), a loosely defined musical genre by artists originating from mainland China, Hong Kong, and Taiwan. Others come from countries where the Chinese language is used by a large number of the population, such as Singapore and Malaysia. C-pop is sometimes used as an umbrella term covering not only Chinese pop but also R&B, ballads, Chinese rock, Chinese hip hop and Chinese ambient music, although Chinese rock branched off as a separate genre during the early 1990s.

There are currently three main subgenres within C-pop: Cantopop, Mandopop and Hokkien pop. The gap between cantopop and mandopop has been narrowing in the new millennium. Hokkien pop, initially strongly influenced by Japanese enka, has been re-integrating into C-pop and narrowing its trend of development towards Mandopop.

Chinese popular music was initially a vehicle for the Cultural Revolution and Maoist ideologies; however, during the country’s extensive political and cultural changes of the past 50 years, it has lost much political significance; and now closely resembles the styles of K-pop and J-pop, from South Korea and Japan, respectively.

Chinese Whispers (Waterhouse)

Chinese Whispers is a composition for string quartet in three movements by Graham Waterhouse. Premiered in 2010, it combines elements from the music of China with composition techniques of Western classical music. Similar to the children's game, phrases change as they pass from part to part. The work was awarded the "BCMS Composition Prize" of the Birmingham Chamber Music Society in 2011.

Chinese musicology

Chinese musicology is the academic study of traditional Chinese music. This discipline has a very long history. The concept of music, called 樂 (yuè), stands among the oldest categories of Chinese thought, however, in the known sources it does not receive a fairly clear definition until the writing of the Classic of Music (lost during the Han dynasty).


The erhu (Chinese: 二胡; pinyin: èrhú; [aɻ˥˩xu˧˥]), or urheen, is a two-stringed bowed musical instrument, more specifically a spike fiddle, which may also be called a Southern Fiddle, and sometimes known in the Western world as the Chinese violin or a Chinese two-stringed fiddle.

It is used as a solo instrument as well as in small ensembles and large orchestras. It is the most popular of the huqin family of traditional bowed string instruments used by various ethnic groups of China. As a very versatile instrument, the erhu is used in both traditional and contemporary music arrangements, such as in pop, rock and jazz.

Folk music

Folk music includes traditional folk music and the genre that evolved from it during the 20th-century folk revival. Some types of folk music may be called world music. Traditional folk music has been defined in several ways: as music transmitted orally, music with unknown composers, or music performed by custom over a long period of time. It has been contrasted with commercial and classical styles. The term originated in the 19th century, but folk music extends beyond that.

Starting in the mid-20th century, a new form of popular folk music evolved from traditional folk music. This process and period is called the (second) folk revival and reached a zenith in the 1960s. This form of music is sometimes called contemporary folk music or folk revival music to distinguish it from earlier folk forms. Smaller, similar revivals have occurred elsewhere in the world at other times, but the term folk music has typically not been applied to the new music created during those revivals. This type of folk music also includes fusion genres such as folk rock, folk metal, and others. While contemporary folk music is a genre generally distinct from traditional folk music, in U.S. English it shares the same name, and it often shares the same performers and venues as traditional folk music.

Gudi (instrument)

The Jiahu gǔdí (Chinese: 贾湖骨笛) is the oldest known musical instrument from China, dating back to around 6000 BC. Gudi literally means "bone flute".

Jinghu (instrument)

The jinghu (京胡; pinyin: jīnghú) is a Chinese bowed string instrument in the huqin family, used primarily in Beijing opera. It is the smallest and highest pitched instrument in the huqin family.

Korean court music

Korean court music refers to the music developed in the Joseon Dynasty (1392-1910). Very little is known about the court music of earlier Korean kingdoms and dynasties.

It was partly modeled on the court music of China, known as yayue. Korean court music also has similarities with the court music of Japan, known as gagaku.

There are three kinds of Korean court music: aak, an imported form of Chinese ritual music; a pure Korean form called hyangak; and a combination of Chinese and Korean styles called dangak.

There is also a genre of aristocratic chamber music called jeongak.


The leiqin (雷琴 or 擂琴, literally "thunderous instrument"; also called leihu) is a Chinese bowed string musical instrument.


The lusheng (simplified Chinese: 芦笙; traditional Chinese: 蘆笙; pinyin: lú shēng, pronounced [lǔʂə́ŋ]; also spelled lu sheng; spelled ghengx in standard Hmong and qeej in Laotian RPA Hmong) is a Hmong musical instrument with multiple bamboo pipes, each fitted with a free reed, which are fitted into a long blowing tube made of hardwood. It most often has five or six pipes of different pitches, and is thus a polyphonic instrument. It comes in sizes ranging from very small to several meters in length.

The lusheng is used primarily in the rural regions of southwestern China (e.g. Guizhou, Guangxi, and Yunnan) and in nearby countries such as Laos and Vietnam, where it is played by such ethnic groups as the Miao (Hmong-Hmyo-Hmao-Hmu-Xong) and Dong. Performers often dance or swing the instrument from side to side while playing. Since the late 20th century, a modernized version of the instrument has been used in composed compositions, often as a solo instrument with Chinese traditional instrument orchestra.

Music of Asia

Asian music encompasses numerous musical styles originating in many Asian countries.

Musical traditions in Asia

Music of Central Asia

Music of Afghanistan (when included in the definition of Central Asia)

Music of Kazakhstan

Music of Kyrgyzstan

Music of Tajikistan

Music of Turkmenistan

Music of Uzbekistan

Music of East Asia

Music of Taiwan

Music of China

Music of Hong Kong

Music of Japan

Music of Korea

Music of North Korea

Music of South Korea

Music of Mongolia

Music of Tibet

Music of South Asia

Asian Underground

Music of Afghanistan

Music of Bangladesh

Music of Bhutan

Music of India


Music of the Maldives

Music of Nepal

Music of Pakistan

Music of Sri Lanka

Music of Southeast Asia

Music of Indonesia

Music of Laos

Music of Malaysia

Music of the Philippines

Music of Singapore

Music of Thailand

Music of Vietnam

Music of West Asia (Middle East)

Arabic music

Music of Bahrain

Music of Jordan

Music of Iraq

Music of Lebanon

Music of Palestine

Music of Saudi Arabia

Music of Syria

Music of the United Arab Emirates

Music of Yemen

Music of Armenia

Assyrian/Syriac folk music

Music of Azerbaijan

Music of Cyprus

Music of Georgia

Music of Iran

Music of Israel

Diaspora Jewish music

Kurdish music

Music of Turkey

Music of Guangdong

Music of Guangdong is a synthesis of a number of local Guangdong folk music styles.

In modern times, the Chinese province of Guangdong has become known for Guangdong music (later Guangdong folk tunes), a synthesis of a number of local folk music styles (like kunqu opera), intended as an accompaniment for the region's folk operas when it arose along the Pearl River Delta in the 1920s. It gradually evolved into a string ensemble format by the 1960s, led by the gaohu with ruan, qinqin, yangqin, sanxian, yehu, and various woodwind (including houguan or saxophone) and percussion instruments. Formerly, bowed stringed instruments such as the erxian and tiqin were used. Compositions by the noted gaohu player Lü Wencheng (吕文成, 1898-1981) remain particularly popular.

Cantonese opera is popular in Pearl River Delta. Musical institutions in Guangdong include the Guangdong International Summer Music Festival.

Teochew music and Teochew opera is popular in Chaoshan.

Hakka music is literary and laid-back in tone, and consists entirely of five notes; many folk songs only use three notes.

Music of Hong Kong

The Music of Hong Kong is an eclectic mixture of traditional and popular genres. Cantopop is one of the more prominent genres of music produced in Hong Kong. The Hong Kong Philharmonic Orchestra and the Hong Kong Sinfonietta regularly perform western classical music in the city. There is also a long tradition of Cantonese opera within Hong Kong.

Music of Jilin

Jilin is a northeastern province of China. The region is home to many kinds of musical theater, especially opera. These include styles like Huanglong opera, Xincheng opera, Jilin opera and errenzhuan (Bangzixi or Benbeng opera).

Errenzhuan is a popular kind of opera that evolved from a folk dance called dongbeidayangge and folk songs like lianhualao, a kind of ballad. Jilin opera is a recent invention, coming from 1959, while Fuyu County's Xincheng opera is based on Man octagonal drum music. The Huanglong opera of Nong'an County is based on shadow play.

Jilin's folk heritage includes Han wind music and dongbei dagu (drum storytelling), yangge music, the wuliger and halaibo singing traditions of the Mongols, and Korean gudaling and pansori.

Xun (instrument)

The xun (simplified Chinese: 埙; traditional Chinese: 塤; pinyin: xūn; Cantonese= hyun1) is a globular, vessel flute from China. It is one of the oldest musical instruments in China and has been in use for approximately seven thousand years. The xun was initially made of baked clay or bone, and later of clay or ceramic. It is the only surviving example of an earth (also called "clay") instrument from the traditional "eight-tone" (bayin) classifications of musical instruments (based on whether the instrument is made from metal, stone, silk, bamboo, gourd, earth, hide, or wood).


The yunluo (simplified: 云锣; traditional: 雲鑼 pinyin: yúnluó, [y̌nlu̯ɔ̌]; literally "cloud gongs" or "cloud of gongs"), is a traditional Chinese musical instrument. It is made up of a set of gongs of varying sizes held within a frame. It was also called yún'áo (雲璈) in ancient times.


The zhonghu (中胡, pinyin: zhōnghú) is a low-pitched Chinese bowed string instrument. Together with the erhu and gaohu, it is a member of the huqin family. It was developed in the 1940s as the alto member of the huqin family (similar in range to the European viola) to increase the pitch range of the instruments used in a Chinese orchestra.The zhonghu is analogous with the erhu, but is slightly larger and lower pitched. Its body is covered on the playing end with snakeskin. The instrument has two strings, which are generally tuned to the interval of a fifth, to A and E or to G and D (this latter tuning equivalent to the violin's lowest two strings).

Zhu (percussion instrument)

The Zhu (Chinese: 柷; pinyin: zhù) was a percussion instrument used in the Confucian court ritual music of ancient China. It consisted of a wooden box (which was often painted red or otherwise decorated) that tapered from the top to the bottom, and was played by grasping a vertical wooden stick and striking it on the bottom face. The instrument was used to mark the beginning of music in the ancient ritual music of China, called yayue. The instrument is rarely used today, with specimens appearing mainly in Chinese museums, although in Taiwan it is still used in Confucian ritual music by the Taiwan Confucian Temple.The Zhu is mentioned, along with another percussion instrument called Yu (敔), in pre-Qin Dynasty annals, and appears in the Classic of History.The Korean Chuk (hangul: 축; hanja: 柷), a musical instrument that is essentially identical to the Zhu, from which it was derived, continues to be used in Korean Confucian court ritual music.

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