AccScience Publishing / AC / Volume 1 / Issue 1 / DOI: 10.36922/ac.419
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An analysis of hybrid music and ethnicity in Quangang Beiguan

Jin Song1*
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1 Department of Musicology, Central Conservatory of Music, Beijing, China
Submitted: 17 April 2023 | Revised: 19 April 2023 | Published: 15 May 2023
© 2023 by the Author(s). This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution -Noncommercial 4.0 International License (CC-by the license) ( )

Quangang Beiguan, widespread in Quangang District, Quanzhou, also spreads to Hui’an County, Taiwan, Singapore, Malaysia, and elsewhere. In 2006, it was included in the first batch of representative protection projects inscribed in the National List of Intangible Cultural Heritage of China. Taking this paper as a unique showcase for Chinese traditional culture, the translator sticks to the vernacular names with English translations and/or romanization beside. Beiguan consists of two parts: one is qu (“songs”) featuring lyrics, the other pu (“notation”) characterized by purely instrumental music, with a total of more than 200 pieces remaining. Relative to Nanguan (Nanyin, literally meaning “southern pipes”), “Bei” in Beiguan, which means “north” in English, refers to the north of southern Fujian, especially the Jianghuai area. Beiguan’s tunes and many of its musical instruments come from the north, and they are sung in Mandarin Chinese. This is quite strange given that the people of Minnan in Southern Fujian Province only love to speak their own local dialects. Mandarin with a Hokkien accent, coupled with the characteristic local musical instruments in the Minnan region, Beiguan has formed part of local music genres. Beiguan is a near-relative hybrid music mixing the music cultures of adjacent areas within the Han ethnic group.

Thirteen Tones
Hybrid Music
Conflict of interest
The author declares no conflicts of interest.
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Arts & Communication, Electronic ISSN: 2972-4090 Published by AccScience Publishing