The Diversity and Shared Culture of Lusheng in Guangxi: An Interethnic Symbol in Southwest China Chu Zhuo Guangxi Arts University University Address: No.
7 Jiaoyu Road.
Qingxiu District.
Nanning.
Guangxi Zhuang Autonomous Region.
China 1257285565@qq.
ABSTRACT
The lusheng, a traditional Chinese bamboo wind instrument, is predominantly located in southwestern China, where ethnic minorities reside.
In Guangxi, this instrument has assumed several shapes.
For instance.
Sanjiang possesses a six-pipe lusheng.
Rongshui features a fifteenpipe variant, and Longlin showcases enormous examples measuring six meters in height.
Collectively, these encompass over 10 distinct varieties, with heights varying from 30 cm to 6 The lusheng has historically evolved beyond its musical purpose to serve as a spiritual emblem for the Dong.
Miao.
Yao, and other ethnic communities.
During events like as the Miao New Year.
Slope Meetings, and the Pan Wang Festival, its booming tones reverberate through communities, functioning as ceremonial fanfares and repositories of collective memory.
The performance system demonstrates extensive dimensionality.
Solo compositions such as "Golden Pheasant Dance" exhibit exceptional delicacy.
unison renditions by several musicians produce profound reverberations.
and the most visually striking is "lusheng caitang," where hundreds of performers encircle bronze drums in coordinated choreography.
The Song Dynasty "tayao" custom is entirely preserved in the Dong ethnic "Duoye" dances of Sanjiang and the Miao "Slope Meeting" festivals of Rongshui.
The lusheng contains a cultural code, with tunes that express courting, recount ethnic epics, and enable competitive "sound dueling.
" These bamboo pipes create a nonverbal linguistic system, enhancing the instrument's significance in three ways: as a ritual tool for spiritual contact, a living historical archive, and a medium for social engagement.
In 2008.
Dong Ethnic Lusheng Music was inscribed on China's National Intangible Cultural Heritage List, therefore affirming its distinctive status within the nation's cultural heritage Keywords: Guangxi.
China.
Lusheng.
Diversity.
Shared Culture INTRODUCTION ancient unidentified documents, the lusheng The lusheng belongs to the sheng is also called lusha and originated in the category of musical instruments, together Guangxi district during the Southern Song with the sheng of the Han and the gourd Dynasty.
The lusheng is still an important sheng of other people living in China.
They wind instrument among people living in are all free reed instruments.
According to Guangxi.
Pantun Jurnal lmiah Seni Budaya Vol.
10 No.
2 Desember 2025 development, the lusheng varies in the Dynasty wrote about the lusheng in his number of pipes.
It becomes popular among AuQuestions on the Ling Area: Ay The lusheng the Miao.
Tong.
Yao, and Zhuang in southern has a similar shape as the ancient musical China instrument xiao, which is made of bamboo.
Though not as well-known as the lusheng of There are one pipe vertically and eight pipes the Miao in Guizhou, the Guangxi lusheng People blow the vertical pipe possesses its own diversity and uniqueness in and make beautiful music.
Ay Musicians of the types, ways of playing, and music repertoire.
lusheng explain AulushaAy as created by shifting Southeast Asian of phonics to AulushengAy.
Moreover, the METHOD Types of Lusheng correspond with those of the lusha.
It is The lusheng varies in types according to deduced from the documents that the different places.
In the course of time and lusheng first appeared in Guangxi and areas history, the Guangxi lusheng is most popular nearby in during the Song Dynasty.
This has in the east, west, and north of Guangxi.
been an eight-feet lusheng.
Besides.
Kuang Typologically, the lusheng can be categorized Lu living during the Ming Dynasty reported into the six-foot lusheng and eight-foot about a six-feet lusheng in his book AuChiyaAy.
lusheng as mentioned in ancient documents He says that AuThe Tong prefer music for ritual of the Song Dynasty.
Recently, it falls into ten animal sacrifices.
They play huqin 2 and six- categories: six-feet with six tones, six-feet with seven tones, eight-feet with eight tones, feet lusheng.
Ay Therefore, it is known that six-feet with five tones, six-feet with four there were already eight-feet and six-feet tones, four-feet with two tones, and some lusheng in the time of the Ming Dynasty.
Now itAos an indispensable traditional Configuration and Types of Lusheng musical instrument of the Zhuang.
Tong.
The Miao, and Yao in Guangxi.
Origin described in ancient documents long ago.
Qufei Zhou of the Song Dynasty wrote about and Characteristics of the Lusheng the lusha of the Yao which is made of bamboo The lusheng has a long historical with one pipe vertically and eight pipes standing and was first documented in the horizontallysimilar to the configuration of the AuGui Hai Yu Heng Zhi-Musical instrumentsAy by Chengda Fan in the Song Dynasty, which consists of the following parts: windchest, was a masterpiece about folk customs in pipe, and acoustic resonator.
The windchest ancient Guangxi.
It says that the lusha is a is a spindle-shaped body of hollow pine or great amusement of the Yao, an instrument cedar wood banded with bark or bamboo that looks like the xiao1 and has eight pipes spilt, that is connected with the long bamboo mouth piece.
The bamboo pipe are inserted Hulusheng brings people great joy.
Ay The into the windchest in rows on the left and geographer Qufei Zhou in the Southern Song right side, which forms then a right angle An end blown flute.
The modern A bowed string instrument.
The Diversity and Shared Culture of Lusheng in Guangxi: An Interethnic Symbol in Southwest China with the windchest.
In each pipe is a copper according to the series of tuning.
The four- tongue fixed at the connecting point with the feet lusheng with three pitches could only The tongue cut is a triangle or a produce three different tones because one of narrow trapezoid shaped with knife.
A sound the four pipes has no tongue.
Its tuning is la hole is excavated near the side of windchest do reAAsol la doAAsol do re.
The four-feet and the acoustic resonator is installed on the lusheng with two ptiches could only produce top of the pipe and fastened with ropes.
There two tones because two of the four pipes do is a great variety of types and configurations not have a tongue and is tuned la do.
And among the lusheng instruments, that are used there is a four-feet lusheng that produces only in different occasions, districts and among one tone for the same reason.
A lusheng in different people and communities.
middle-pitch and low-pitch range are usually performed in a lusheng band, seldom as solo Six-feet Lusheng The six-feet lusheng contains six pipes attached to the windchest and can be divided into four different types according to their The six-feet lusheng with seven pitches has in its thickest pipe two tongues Figure 1.
Components of the Lusheng, including the wind chamber, pipes, reeds, and resonators.
(Source : by Chu Zhu.
and in all others only one.
This type comes in two tunings: la do re mi sol .
a s.
and sol la do re mi .
ol s.
The six-feet lusheng is mostly Over a long period of time, many used among the Miao in the northwest of different types of lusheng were produced and Guangxi as ensemble and solo instrument.
distributedin different districts.
The Guangxi The six-feet lusheng with six pitches lusheng lusheng can be divided into four-feet, six-feet, has in each pipe one tongue and its tunings and eight-feet type according to the number comes in four variations: la do re mi sol la, sol of pipes.
There is another categorization la do re mi sol, re mi sol la do re and sol la do according to the phonation: high-pitch, re fa sol.
It is used in many occasions among middle-pitch and low-pitch lusheng.
The the Zhuang.
Tong, and Miao in Guangxi.
length of the pipes of the high-pitch lusheng is normally not longer than 56 centimeters, of the middle pitch lusheng approximately 100 centimeters to 170 centimeters, and of the the low-pitch Detailed information follow here:
Four-feet Lusheng As the name tells, it is a kind of lusheng with four pipes in a windchest, which could Figure 2.
Six-feet Soprano Lusheng.
(Source : by Chu Zhu.
be divided into another three different types Pantun Jurnal lmiah Seni Budaya Vol.
10 No.
2 Desember 2025 bamboo with the bottom sealed but other nodia between the interesections opened.
There is a long thin lusheng tube with an incorporated copper tongue at bottom and a mouthpiece on the top that isand inserted into a large bamboo from above.
There are two types of lusheng pipes: a monophonic pipe and a diphonic pipe.
A monophonic lusheng pipe can only produce one pitch, approximately AulaAy as there is a tiny lusheng tube placed inside the pipe, while a diphonic lusheng pipe can produce the pitches AuLaAy and AuMiAy.
It is usually made in two ways.
The first way is to insert two tiny lusheng tubes Figure 3.
Six-feet Bass Lusheng.
(Source : by Chu Zhu.
with tongues into the larger bamboo pipe from above.
the other is to open all the Eight-feet Lusheng intersections of the bamboo and insert one The length of the first pipe is around 70 lusheng tube with a tonuge from each side.
centimeters with some unique characteristics.
Lusheng pipes can be categorized into three This type exists with two tunings: sol la do re types according to their sizes.
The small size mi sol la do and la do re mi sol la do re.
It is is called middle voice pipe with a length of 80 particularly often used as solo performance medium size bass pipe with a instrument of the Tong.
length of 120 centimeters and the large size
double bass pipe with a length of 180
The Guangxi lusheng varies in types and configurations among districts and people on different occasions with different ways of playingfrom a historical and actual
RESULTS AND DISCUSSION
Performance of Lusheng Music Figure 4.
Eight-feet Soprano Lusheng.
(Source : by Chu Zhu.
Many musical compositions exist for the lusheng in Guangxi.
People perform solo.
Lusheng pipe in groups of the same and in ensembles with A lusheng pipe is also called AuMang different lusheng for various rural activities, pipeAy or AuGround pipeAy used by both the of which many are performed with dancing.
Tong and the Miao in Guangxi.
The body of a They are usually called lusheng music or lusheng pipe is made of a large section of lusheng dance music.
Ancient documents The Diversity and Shared Culture of Lusheng in Guangxi: An Interethnic Symbol in Southwest China mention some of the lusheng performances.
lusheng with eight ptiches.
Lusheng repertoire is commonly used in during activities of Aufence visitingAy and AuBride picking upAy with corresponding music, or sometimes in daily entertainment.
Because there is no dance and the performers can focus on playing the lusheng, the performance techniques can vary within one piece and the music sounds rather diversified and more attractive.
In the other category, there is also some dancing to the music of lusheng solo.
It is commonly played with a small six-feet lusheng having seven pitches among the Miao nationality in Xi Lin.
Na Po and Long Lin districts in the northwest of Guangxi.
This repertoire is mostly applied during local activities such as wedding celebration, funeral arrangement, godliness ceremonies and slope jumping with numerous songs.
The performance is about to deliver three types of contents.
The emotional dance expresses all sorts of emotions such as joy and sadness.
The story telling dance is about animals imitated by the performers or tales from long time ago.
And there are also acrobatic dances that show challenging movements, jumps and bends to the music.
For instance.
Kuang Lu in the time of the Ming dynasty wrote in his masterpiece AuChi YaAy that the Tong play a six-feet lusheng, sing songs with eyes closed, shake head and hands, which was named the Hun Dun dance 3 .
Guangxi lusheng music developed and still changes over a long period of time.
Now, it is celebrations of the Zhuang and the Tong in the east, west, and north of Guangxi.
It has various characteristics resulting in different music styles and art forms.
Analysis of Current Guangxi Lusheng Repertoire In Guangxi, the lusheng is mostly played by males while females watch or dance to the music.
The Guangxi lusheng music has strong local features in various performance types and a vast number of AuAccording to the ways and types of performance.
The Guangxi lusheng repertoire is practically divided into lusheng solo, lusheng unison, lusheng ensemble and lusheng and drum chant.
4Ay Each type is used in different occasions and among different Lusheng Solo Lusheng Solo is played by only one performer who is usually a local talent.
The performance categories can be further divided intolusheng solo without dance and lusheng solo with dance.
A lusheng solo without dance is found among the Miao and the Tong in Rong Shui and San Jiang, in the north of Guangxi.
The Miao use the six-feet lusheng with six pitches while the Tong use the six-feet lusheng with six and the eight-feet Lusheng unison Lusheng unison music is played by many performers together at the same time with a six-feet lusheng having seven pitches and with a length of about 130 centimeters used by the Miao in Long Lin.
Xi Lin, and Na Po districts of Guangxi.
The lusheng unison is usually played on the AoSlope Jumping FestivalAo in Miao districts around the country.
It can be divided into two categories according to the The first type is a competitive 3 Hongen Lan.
AuStudy On Chi YaAy.
P46: Hun Dun Dance it AuHun Dun DanceAy.
4 Xiuzhao Yang.
Theory On Guangxi Lusheng Music.
Art Exploration, 2005.
P7 means when people do the lusheng dance, they shake head and legs, playing and dancing.
When it comes to the climax, people get the feeling of chaos in the head.
Lu Kuang called Pantun Jurnal lmiah Seni Budaya Vol.
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2 Desember 2025 unison, which is seen during a competition and important one, is called AuWu ChuiAyand is played for dancing on many occasions, among which the slope festival is the most The third type is AuCai TangAy which is actually a solo lusheng performance.
On the basis of AuWu ChuiAy, it adds the female dancing anticlockwise around the outer circle by playing the AuCai Tang MelodyAy.
among many groups.
Each group is required to play the same song with the same-tuned lusheng, but different types are permitted.
That team wins that plays more songs and dances under conditions of higher-difficulties.
The other type is performing unison.
During the AoSlope JumpingAo activity, a performing Lusheng and Drums Chant group made of several or a dozen or so people Lusheng and drums chant is a unique plays the same song with the same type of performance style of Guangxi that is popular The performers play and dance in a in Yao lowland districts of Fu Chuang County circle followed by many female dancers in in Guangxi.
The musical instruments used neat and simple costumes.
are the six-feet lusheng with six pitches Lusheng ensemble framed by the big long drum, the small long Lusheng ensemble music is played by a large number of musicians or even hundreds of performers with different types of It is an important repertoire of lusheng performances of the Zhuang, the Tong, the Miao, and the Yao in Rong Shui and San Jiang districts in Guangxi.
The most-used musical instruments are the four-feet lusheng, six-feet lusheng and the lusheng tube.
The lusheng ensemble, also called AuTangAy, is mainly organized with middle pitched lushengs, fewer higher and lower pitch instruments, and two-part types the fewest.
The ensemble is played during popular activities and daily entertainment.
The performance within the village takes usually place in the lusheng lawn of the Miao and the Gulou Lawn of the Tong, which are open air places in the wild surroundings that serve activities between villages.
A lusheng ensemble has three ways of performing.
The first type is called AuZou ChuiAy which is played while walking at the same time.
It is mostly played during walking on the occasion of the AoSlope JumpingAo and in other Popular pieces are AuWalking MelodyAy and AuVillage Visiting MelodyAy.
The second type, which is also the most common drum, a small gong and the bamboo flute.
The organization of the ensemble differs from indoor to outdoor performance.
During the performance, lusheng and bamboo flute provides the melody and the harmonic while the long drums and gongs provide the meter marking and rhythmic The drummers also chant some meaningless syllables.
The lusheng and drums chant is only used in the worship ceremony redeeming vows to the Pan God, also called AuTiao Pan GodAy.
The original sets of pieces are 12, but only 9 were passed down such as AuTake Bows Four TimesAy.
AuZuo Tang QiAy, and AuFive ToesAy.
Other Lusheng Activities Lusheng competition and Cai Tang are both popular activities of the Tong.
Tong districts usually hold the activities during the festivals of January.
February 2nd.
March 3rd, and April 8th of the lunar calendar.
On those days, people gather from all directions, bustling with noise and excitement.
The Diversity and Shared Culture of Lusheng in Guangxi: An Interethnic Symbol in Southwest China Lusheng Competition Lusheng competition is a competitive performance of each team.
When the of different basic tunes change such as fromAuCai Tang MelodyAy.
AuTao Hua MelodyAy, the dances change their movements, too.
In San Jiang County, a tug-of-war called Audrum tugAy is added to the end of the Cai Tang activities to round up the day.
Lusheng Cai Tang is quite popular in the Rong Shui Miao autonomous county.
It is also called Aumale play music - female danceAy and is held from August to February.
Among the Miao 5 , a large number of Lusheng Cai Tang activities are held annually and during the Spring Festival.
People set up a lusheng pole at the center of the stage and one bass lusheng, double bass lusheng and Mang pipe are placed around it.
Scores of people play small lushengs with rooster feathers at the outer circle, playing and dancing.
Hundreds of girls dance to the music in the outermost circle, which makes the performance extraordinarily boisterous and joyful.
traditional activity frequently held by the Zhuang, the TongueUthe Miao, and the Yao.
People get together from nearby villages to celebrate the traditional festival by competing in lusheng playing and dance.
Each lusheng ensemble can choose different pieces from the lively AuYing Bing MelodyAy, the magnificent AuCai Tang MelodyAy and the AuSong Ke MelodyAy The competition is organized in entire villages or of groups.
The lusheng sound competition is judged by the standard of unification and the lusheng dance competition is judged regarding the dancing movements.
The lusheng competition is a one-to-one activity, the judge stand on the slope far away and uses a flag to deliver the result of the Cai Tang AuOpening danceAy Lusheng Cai Tang is another popular traditional activity in Tong districts of Guangxi.
Every ensemble, called AuTangAy gathers in a circle and dances.
During the activity, each lusheng AuTangAy establishes a lusheng pole at the center of the circle, attached with the team flag on the top.
Around the pole there are 4-6 people playing a Mang pipe as the bass accompaninment.
the circle around it play the Tong male their lusheng decorated with rooster tail feathers.
and in the outermost circle dance the bestdressed Tong girls anticlockwise, holding colorful handkerchieves, an umbrella and wear heavy silver jewelries.
Their dancing movements according to the rhythm are neat and uniform.
The lusheng directors lead the characteristics in the way of tuning, melody development, and musical structure.
Year of Miao, also calledAy Neng NiangAy in Miao language, it is the most grand traditional festival.
The date of the festival depends on districts.
In Rongshui county of Guangxi, the Miao nationality defines the Nov.
31st of lunar calendar the New Year, they celebrate the new year from the following day.
Figure 5.
Lusheng Cai Tang.
(Source : by Chu Zhu.
Artistic Characteristics of Guangxi Lusheng Music Guangxi Lusheng Music shows its Pantun Jurnal lmiah Seni Budaya Vol.
10 No.
2 Desember 2025 Tunings Miao unison AuPieces of sending friends offAy Guangxi lusheng music bases its mode recorded by Yuzhuang Tang, the core melody on Yu mode and Hui mode , however.
Yu is consistingof la, do, re, from which the mode pieces make up to 90 percent of the melody is elaborated by repetitions and Lusheng music is mainly played using a sixtone row, but Guangxi lusheng music shows a lot of two tone, three tone and eight tone rows besides the usual six tone row (Figure .
The variety of tunings forms the foundation of Guangxi lusheng music.
The Tong and the Miao in Guangxi pay great attention to the choice and use of Among theTong lusheng pitches.
The players are aware of the AuMatch MelodyAy recorded by Guofan Chen, function and sound attributes of lusheng the tuning is la, do, re.
The core melody is through the pitches played.
The focus on the mainly on la and re, which correspond to pitch is one of the characteristics of Guangxi their charactiersitc intonation.
The four music lusheng music.
Therefore, the Guangxi lines are all developed by the repetition of the lusheng has 10 pitches different from other core melody provided in the first bar.
For lusheng traditions such as No.
No.
No.
instance, the beginning of the piece is No.
developed by the single repetition of the two Development of Melody The melody of Guangxi lusheng mainly lays in the middle and lower register, especially in the unison performances of Guangxi lusheng repertoire.
The percentage The structure of greatly promotes the of middle and low pitch instruments in the further development of the melody.
ensemble is there up to or higher than 75%.
The core melody of the lusheng unison music is carried out using three pitches, i.
la, do, re, of the middle and low pitched lusheng.
The melody is then elaborated from this core melody related to the basic pitches.
The Guangxi lusheng piece applies repetitions.
The main characteristics of Guangxi slightly changed repetitions, keeping the lusheng music is the simple core melody and beginning or keeping the end, expansion and parallel movements.
For example, among the Performers of Guangxi lusheng 6 Translated into Western standards, the Yu Mode begins 7 Hui mode ( mode in Chines.
is derived from the Anhui with a major submediant or a minor tonic ( mode in Chines.
Example: A C D E G (A) is seen as A-Yu mode.
mode that is common in Hubei.
The Diversity and Shared Culture of Lusheng in Guangxi: An Interethnic Symbol in Southwest China a strong rhythmic sensation, distinctive beats, through these methods though they could and outstanding strong beats, which makes it also tapply other melodic ornamentations.
suitable for dancing, where this type of rhythm mostly appears.
Non-average rhythm Musical Structure Considering has no obvious intensity or distinction in It is rather free of fixed meter and is Guangxi lusheng repertoire can be divided single-section suitable for the introduction part of an improvised Guangxi solo and a unison section structure, and varying structure.
The single-section ensemble, which is led by the high-pitched From the aspect of volume and indivisible, meaning the underlying musical idea of the piece could not be divided into Guangxi indicate collectivity and competitiveness, different parts.
Listeners can not feel the piece making a powerful impact on the sound ending until it really ends.
The repertoire of environment within the nation.
the Guangxi lusheng solo and ensemble mainly belongs to the single-section structure.
The lusheng is a kind of multi-part namely AuCai Tang MelodyAy in the ensemble musical instrument in nature.
The melody Combined-section structure is can develop both in the horizontal and composed of several relatively independent vertical direction, while Guangxi lusheng and parts, such as main pieces, interludes, and Each section is a piece causing a repertoire have distinctive features.
conclusive feeling.
The whole combined- The melody is played by middle- and low-pitched lushengs.
the multi- just the combined-section structures.
Varying formed between multi-part structure, meter, and polyphonic AuZa MelodyAy of the ensemble repertoire are elements that have to be considered: melody, interludeAending.
Ay The AuSai MelodyAy and Lusheng and drum chants contain four section structure can be Auintroduction-main piece-interlude-main part structure is created by the high-pitched the gong and long drums provide musical sections.
There exists a feeling of and clearly indicate meter and main beats.
Aoparagraph separationAo within the main piece.
Most of the varied paragraphs are decorative.
produced through the chant yelled by the the musical ideas and the main melody stay The human voice improvises mostly the same.
The lusheng and drum chant of the Yao in Guangxi and part of the That is why the texture of the lusheng solo music belong to the repertoire with varied structure.
Rhythm and Harmony Although Guangxi heterophony, they combine several different heterophony parts with an overarching There are two kinds of rhythm in melody part, thus showing a distinctive Guangxi lusheng music: average rhythm and multilevel texture.
non-average rhythm.
Average rhythm causes Pantun Jurnal lmiah Seni Budaya Vol.
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2 Desember 2025 Guangxi means a lot in the origin and appreciation of the lusheng.
An old saying historical development of lusheng music.
The from the White Miao branch tells for types of performance styles and repertoire example: Ay The millet will not be transplanted add to the many features of lusheng music.
until the lusheng is blown.
Once the lusheng is played, people canAot wait doing the jobAy.
Instrument-Based Shared Culture This saying refers to agricultural processes.
The lusheng implies different ideas to Most of the southwest minorities worship the people through the ages.
It is not only a gourd, so does the Miao nationality.
While musical instrument but also an artifact the lusheng is developed from the gourd carrying magical meanings.
The lusheng sheng, the lusheng is also viewed as an culture integrates the historical culture of the embodiment of the mother by Miao people.
Tong, the Miao and the Yao, their daily work The gourd sheng means a lot more than that and their religious life.
As a musical instrument, the lusheng is one of the worshipping of Miao people.
The Miao have a profound connection festivals and entertainment activities as it with bamboo.
There exist a saying among symbolizes music of the minorities within the Miao people that in ancient times, a strange- large country China.
looking bamboo shoot grows up in the Lusheng Culture of the Miao and their bamboo forest.
After ten months, the bamboo Worshipoing of Bamboo shoot breaks out and a little baby was found AuLusheng culture is a nationwide in it, who was the ancestor of the Miao.
cultural activity of the Miao nationality.
Ay 8 Therefore, the local people regard bamboo as This might be just a simple explanation on a the symbol of the principal family and each more complex phenomenon.
The lusheng family a piece of bamboo fragment.
People culture is a collective activity that Miao belong to the same bamboo fragment share people use as a tool to communicate the same ancestor and are not allowed to emotionally and culturally.
In a broader sense, marry each other9.
Compared to the daily life, lusheng culture involves a lot of aspects.
Miao people usually use articles made of penetrating the history of people as a whole, bamboo in all kinds of sacrifice ceremonies music repertoires, traditions, rituals and and protocol activities such as bamboo regional belief systems.
Now, the miao lusheng ssems to become a cultural symbol of memoriam table, bamboo diagrams and the nation.
Through hundreds and thousands Besides, there are many bamboo-made of years, the lusheng has been passed down as one of the most significant traditional Miao, because the musical instrument is first used musical instruments of the Miao.
Some to entertain the spirit, and then people.
For legends and old sayings reveal the status and the Miao people, the bamboo-made lusheng 8 Guo zhu (Miao nationalit.
, originating grandma, 9 Yongzhang Wu.
Min Tian.
The Nationalities of Miao and sacrificing, worshipping, entertaining the spirit and peopleAi Lusheng of Miao Nationality and Lusheng Culture.
National Art, 1990.
P197 Yao and the Yangtze River [M].
Hubei Education Press, 2007 Version.
P187 The Diversity and Shared Culture of Lusheng in Guangxi: An Interethnic Symbol in Southwest China is able to communicate with spirits, which Musicianship is an underlying skill that underpins the representation of blending the goes beyond the primary music performance.
bamboo worshipping with the lusheng Musicianship regarding the lusheng consists of communication skills, as it is necessary to be in the two different roles of the lusheng- The Language System of Lusheng speaker and lusheng-listener.
Lusheng music The sound of the lusheng, the music depends on the intonation feature within a recorded, the way to learn, and the ceremony local dialect and some wider musical and occasions are all related to the spoken aesthetics in order to achieve linguistic or language, which forms the AulanguageAy of the spiritual communication.
In the less busy Haris describes the concept of Aulanguage systemAy season, the lusheng is played to bridge the AutalkingAy time and entertain by expressing joyfulness.
phenomenon of musical instruments from Men express their love to women with the aspects of lusheng words, musicality, lusheng music, or lusheng is played at the behavior, and the traditional environment of flower slope, where every ceremony from the lusheng.
Furthermore, the author deeply cutting the flower trees to burying them analyzes how lusheng performances are affected by local language, manners and Also, weddings, ancestor worshipping, festivals, customs, ceremonies, and aesthetics.
house-warming parties, and travelling have Lusheng Lyrics their corresponding lusheng music that has to be fully understood not only in musical terms.
Lusheng lyrics are made of two parts:
padding syllables and song lyrics.
Padding Performance Environment syllables are the words spelled for each Besides the lusheng music itself, the lusheng piece.
As long as people learn the performance context of lusheng language music in words, it is not hard for them to play includes the customs and habits through the lusheng.
It is a Auword to musicAy way of which the musical repertoire exists.
The While the song lyrics are performed, individual environment and its overall the lusheng intonations are similar to the perception reveal the cultural connotation spoken language.
There are, so to say.
Aumusic and purpose of lusheng music.
A customary to wordAy lyrics, which have a simple function environment includes the occasion of the of ideographical expression.
Using lusheng activity, actual modalities of the activity, the lyrics is a distinctive traditional literary way status of the performer, and the performance of expressing emotions.
This is used by the Miao with pitches of lusheng tongues For performance context of lusheng and drum replacing the Miao language intonation.
Oral chants highlights the uniqueness of this kind transmission inherits the lyrics, with the of lusheng music, which is exclusively used speaker acting as the master and the listener in the sacrifice ceremonies of the Yao in Yao as the apprentice.
communities of Guidong and Fuchuang Musicianship All the features observed define the Pantun Jurnal lmiah Seni Budaya Vol.
10 No.
2 Desember 2025 aciaoAi[J].
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function of entertaining the spirit under this oOa.
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Guangxi, as the place where the lusheng evolved over centuries, brought a OoUu.
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diverse and multifaceted lusheng culture to ua,2015,.
Guangxi lusheng music has a style of its y .
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essential part of music cultures in which free reed instruments are focused on.
However, sa.
AIoUuauAOouaaOOcAU many aspects still await further exploration Ouuanae[J].
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