Cultural Studies and Heritage Education of Nanyin Performance Art in Quanzhou City, Fujian Province, China

Nanyin, a traditional Chinese music genre originating from Fujian Province, China, encompasses a wide range of singing and instrumental playing techniques. This study aims to analyze the historical development and performance form of Nanyin in Quanzhou, Fujian, China, employing an interdisciplinary approach that incorporates musicology, ethnomusicology, historical musicology

performances employ the standard Quanzhou dialect, preserving the ancient Chinese phonology of central China.Singers pay meticulous attention to word pronunciation and lyrical rhythm, resulting in captivating melodies, unhurried rhythms, and elegant expressions that evoke profound sentiments (Wang, 1992;Soon et al., 2018).
Nanyin encompasses the "Dapu," "Sanqu," and "Zhitao" genres (commonly known as "Pu," "Qu," and "Zhi"), combining vocal music and instrumental performances to create a comprehensive and culturally rich music system.The existing Nanyin repertoire comprises more than 2,000 pieces (sets), symbolized by the five Chinese characters "Fu Gong Liu Si yi," corresponding to "Gong Shang Jiao Zhi Yu."This unique notation system, accompanied by pipa fingering and flapping symbols, distinguishes Nanyin from the common "Gongchi notation" and surpasses the rigor of the "Dunhuang ancient notation" (Yeh, 1988;Guo, 2002).

Objective and Research Question
This study aims to analyze the historical development and performance form of Nanyin in Quanzhou, Fujian, China, exploring its enduring history and unique musical dimensions.The objective is to shed light on Nanyin's preservation as a cultural heritage and provide valuable insights for further research in this field.The recognition of Nanyin both domestically and internationally has sparked the interest of researchers in understanding its historical significance and distinctive performance forms.The rich historical lineage and exceptional performance styles of Nanyin make it a compelling research area, offering opportunities to promote the traditional culture of Quanzhou Nanyin and contributing to the fields of heritage education and cultural studies.To address this objective, the following research question was posed: -What are the historical development and performance forms of Nanyin in Quanzhou, Fujian, China, and how does this traditional Chinese music genre contribute to cultural studies and heritage education?

LITERATURE REVIEW
The Overview of Fujian Province, China Fujian Province, also referred to as "Min," is a provincial-level administrative region situated along the southeastern coast of China.It shares borders with Zhejiang Province to the northeast, Jiangxi Province to the northwest, Guangdong Province to the southwest, and faces Taiwan Province across the Taiwan Strait to the southeast.The provincial capital, Fuzhou, is located between 23°31' to 28°18' north latitude and 115°50' to 120°43' east longitude.The province's topography exhibits a diverse landscape, ranging from high mountains in the northwest to low-lying areas in the southeast, creating a distinctive "mountain near the sea" environment.Approximately 90% of Fujian's land is covered by mountains and hills, while the region experiences a subtropical marine monsoon climate (Fan, 1995;Guo, 2013; Luo, S., Wang & Cai, 2013;Wang et al., 2020).
As of 2021, Fujian Province comprises nine prefecture-level cities and the Pingtan Comprehensive Experimental Zone, encompassing a land area of 124,000 square kilometers and a sea area of 136,000 square kilometers.The province's permanent population at the end of 2022 was recorded at 41.88 million individuals.Historically, during the Tang Dynasty in the twenty-first year of the Kaiyuan era (733), the military governorship of Fujian was established.Fuzhou and Jianzhou served as the appointed governors of Fujian Province, coexisting with the governor's office in Fuzhou.Subsequently, during the Yuan Dynasty, Fujian and other regions were designated as book provinces.In the ninth year of the Ming Dynasty's Hongwu era (1376), administrative offices were established in Fujian and other areas under the declaration of the Buzheng secretary (Wang et al., 2020;Zhao et al., 2023;Shi et al., 2023).
Fujian Province boasts a renowned cultural heritage, with the "Bamin Culture" serving as a representative symbol of its historical significance (Nichols, 2011).Located at the intersection of the East China Sea and the South China Sea, Fujian played a pivotal role as the starting point of the Shanghai Silk Road and Zheng He's voyages to the West.Over the centuries, it has evolved into a prominent center for maritime trade, engaging in extensive foreign exchanges and establishing itself as one of China's earliest provinces involved in international trade.Fuzhou served as a crucial base for Zheng He's remarkable voyages.Today, Fujian benefits from its economic advantages, including special economic zones, pilot free trade zones, comprehensive experimental zones, and its position as a core area of the 21 st Century Maritime Silk Road (Yeoh et al., 2018;Yang & Zhuo, 2019;Zheng, 2019).Moreover, the province boasts a significant diaspora population, with 15.8 million overseas Chinese of Fujian origin residing around the world, accompanied by over 1.2 million Fujian compatriots from Hong Kong and Macao.Notably, more than 80% of Taiwan's residents trace their ancestral roots back to Fujian.

Introduction to Quanzhou City, Fujian Province, China
Quanzhou City in Fujian Province, China (Figure 1), is a historical and cultural city with a rich heritage.It played a significant role in overseas trade and was a prominent starting point of the Maritime Silk Road.The city's geography encompasses diverse topography, including mountains, hills, valleys, and a winding coastline.Quanzhou is a modern industrial and trade port city with a population of 8.78 million.It is renowned for its vibrant art and music, with cultural forms such as Quanzhou Nanyin, Liyuan Opera, Puppet Shows, and Stone Carvings contributing to its unique cultural identity (Yu, 2017;Zhao et al., 2022) (Table 1).

The General Knowledge of Nanyin in China
Nanyin, a valuable and classic form of Chinese music, holds the reputation of being a "living fossil" in the history of Chinese music.It originated in Quanzhou, Fujian Province and has a distinct band configuration consisting of pipa, dongxiao, sanxian, Erxian, and clappers.On the other hand, Liyuan Opera, also originating from Quanzhou, features a band configuration like Nanyin but includes a "press foot drum."The differences between Nanyin and Liyuan Opera lie in their historical origins, with Nanyin dating back to the Tang Dynasty and Liyuan Opera being a branch of Southern Opera from the Song and Yuan Dynasties.Nanyin is deeply rooted in Quanzhou's cultural heritage and has undergone fusion and development through interactions between Central Plains and local music.Its history can be traced back to the Tang Dynasty, and it is believed that Meng Chang, the later master of the Later Shu dynasty, played a pivotal role in its establishment.Fujian Nanyin consists of "Zhi" (songs with lyrics and music), "pu" (instrumental music cycles), and "qu" (songs with lyrics).Liyuan Opera, a branch of Southern Opera, is characterized by its loyalty and filial piety themes, with different schools showcasing various performance styles.It maintains a set of strict rules and features intricate and expressive gesture performances (Lung, 2001;Chong et al., 2013) (Table 2).

The General Introduction to Quanzhou Nanyin
Quanzhou Nanyin is an ancient form of Chinese music with deep cultural roots.The study of this music involves various branches of musicology, including ancient Chinese music theory, Chinese ethnic folk musicology, and historical musicology.In ancient China, music learning and law learning were closely integrated, and there was no strict separation between them.Researchers explore the historical development of ethnic folk music, analyze the musical culture research framework related to ancient Chinese musicology, and study the chronological order and processes of music development through historical musicology.These multidisciplinary approaches contribute to a comprehensive understanding of Quanzhou Nanyin and its significance in cultural heritage and education (Xing-he, 2018;Huang & Chantamala, 2022) (Table 3).

Theoretical Background
This research investigates the interdisciplinary nature of musicology, ethnomusicology, historical musicology, and organology to gain a comprehensive understanding of music

Cultural Significance
Nanyin represents a valuable and classic form of Chinese music with profound cultural heritage.

Gesture Performance
Liyuan Opera has a set of strict rules and intricate gesture performances.
and its cultural significance.By examining the relationships between these fields, we can explore the historical development, cultural context, and musical instruments within different musical traditions.This research theory will draw upon various scholarly works and theories to support its claims and provide a foundation for further research.

Musicology
Musicology involves the analysis, interpretation, and contextualization of musical works, performances, and traditions.Musicologists employ diverse methodologies, including music analysis, archival research, and cultural studies, to explore the social, historical, and aesthetic aspects of music (Middleton, 1990).

Ethnomusicology
Ethnomusicology examines music as a cultural phenomenon, investigating how music shapes and is shaped by societies, communities, and individuals.Ethnomusicologists employ fieldwork, interviews, and participant observation to study various musical traditions across different cultures and regions (Titon, 2008).

Historical musicology
Historical musicology involves the examination of musical works, composers, and performance practices from different time periods.Historical musicologists analyze primary sources, such as musical scores, treatises, and historical documents, to understand the development and evolution of musical styles and genres (Bonds, 2013).

Organology
Organology explores the construction, acoustics, and performance techniques of various musical instruments across different cultures and time periods.Organologists analyze instrument design, materials, and cultural practices to gain insights into the relationship between music and material culture (Baines, 1992).

METHOD Key Informants
For this study, the selected informants provided valuable firsthand knowledge and experiences that contribute to the research on Nanyin in Fujian, shedding light on its cultural significance, developmental aspects, and unique musical characteristics.Three key informants were selected based on the following criteria: 1.They have their ancestral home in Quanzhou, Fujian Province.2. They have acquired knowledge of Nanyin at an early age and possess a comprehensive understanding of its history, culture, and development.3.They are skilled in performing various genres of Nanyin music.4. They have actively participated in the preservation and transmission of Nanyin traditions for many years.5.They hold the official recognition as inheritors of the intangible cultural heritage of Fujian Nanyin.
Table 4 summarizes the background information about the three informants of the study.

Research Tools
To gather primary data and gain in-depth insights into the subject of study, interviews and observations were employed as valuable research tools.The following research tools were utilized:

Chinese Ethnic Folk Musicology
Study of the historical development and characteristics of ethnic folk music.

Historical Musicology
Branch of musicology studying the processes and laws of music development throughout history.

Significance
Contributes to understanding Quanzhou Nanyin's cultural heritage and its educational implications.

Interviews
Structured or semi-structured interviews were conducted, facilitating direct interaction with the key informants who are knowledgeable in Nanyin Performance Art.

Observation
Active observation was carried out during live Nanyin performances and rehearsals to collect firsthand data.

Data Analysis
The data analysis method employed in this study involved a systematic and rigorous approach to analyze the collected data from interviews and observations.The recorded interviews were transcribed verbatim, and a coding system was developed to identify key themes, concepts, and patterns within the data.The coded segments were then organized into categories and groups based on thematic similarities.Through a process of analysis and interpretation, patterns, trends, and relationships within the data were identified, and findings were synthesized to provide a comprehensive understanding of Nanyin Performance Art.Triangulation was used to enhance the validity of the findings by cross-referencing data from multiple sources.The data analysis process followed a logical and structured approach, ensuring the credibility and reliability of the study's conclusions.

RESULTS
The Considering the development of Nanyin Performance Art from the perspective of Chinese cultural history, and by examining the social and cultural evolution during different periods of Chinese history, its development can be broadly categorized into four distinct periods.The first period encompasses the origin and formation of Fujian Nanyin Performance Art, which predates the year 1840.The second period spans from 1840 to 1949, coinciding with the founding of New China, marking an era of significant development for Nanyin Performance Art.The third period covers the 30 years from 1949 to 1979, witnessing further growth and progress spurred by the construction of New China.The final period encompasses the development of Nanyin Performance Art since 1979, reflecting its continued evolution in contemporary times.

The historical development of Nanyin in Fujian performance art (before 1840)
Nanyin Performance Art has ancient origins, with references to "Nanyin" found in historical records prior to 1840.The musical instruments used in Nanyin, such as the pipa and clapper, demonstrate influences from the Tang Dynasty and earlier periods.The incorporation of the second and third strings, as well as the utilization of the scale spectrum, highlight the historical development and fusion of musical elements.Performance forms in Nanyin draw inspiration from the traditional singing style of the Han Dynasty's Xianghe song, and over time, Nanyin absorbed diverse musical styles, including those from Buddhism and Taoism.Nanyin Performance Art has gained recognition across social classes, even performing in the imperial court during the Qing Dynasty.
Culturally, the development of Nanyin Performance Art stems from the interaction between central plains culture brought by migrating Quanzhou people and the local folk music of Fujian.The dispersion of Quanzhou people to other regions, particularly among Hokkien speakers, led to the establishment of Nanyin societies where the art form thrived.This integration of southern and northern Chinese musical heritage contributed to the unique character of Nanyin.The transmission of Nanyin Performance Art predominantly occurs through "oral instruction," emphasizing apprenticeship under experienced masters.Singing plays a central role in Nanyin, and apprentices meticulously learn lyrics and vocal techniques.Nanyin grandmasters hold significant positions in preserving the art form's traditions, and their teachings shape the ancient methods and specifications followed in Nanyin performance and singing.
The tradition of "oral transmission" remains the primary mode of inheriting Nanyin Performance Art, ensuring the preservation of its authenticity and distinctiveness.Singing takes precedence, while instrumental skills offer an alternative path for those less inclined towards vocals.Nanyin masters, esteemed for their expertise, often receive apprentices for several months, during which students provide compensation for their instruction.Nanyin families also contribute to passing down the art form, with the legacy frequently spanning multiple generations.
The emphasis on "oral instruction" safeguards the unique cultural heritage of Nanyin Performance Art, allowing its intrinsic qualities to endure.This traditional mode of transmission continues to be valued in modern educational settings, as it upholds the essence and traditions of Nanyin education.The strength of "oral teaching" lies in its ability to preserve the authenticity and originality of this art form, ensuring the safeguarding of its rich cultural heritage.

The historical development of Nanyin in Fujian performance art (modern times, 1840-1949)
During the period from 1840 to 1949, Nanyin in Fujian experienced significant development despite the challenges posed by war and population displacement.This era marked a flourishing period for Nanyin, with the fusion of traditional and Western musical influences leading to a renaissance of Chinese traditional music.Nanyin became a core genre in southern Fujian, incorporating elements from various art forms.Notably, during the anti-Japanese resistance from 1930 to 1945, Nanyin played a crucial role in voicing patriotic sentiments.The expansion of finger music scores and the establishment of Nanyin branches in different regions contributed to its cultural development.
The "meeting friends through music" approach played a pivotal role in Nanyin's inheritance and development.Folk Nanyin performers emphasized learning from numerous teachers through various channels.This communication format found expression in social organizations such as folk Nanyin concert halls, Nanyin families, and professional Nanyin orchestras.Music halls embraced diverse forms of interaction, including competitions and collaborations.The "joint library" organized Nanyin competitions, while "visiting the Pavilion" facilitated knowledge exchange.Nanyin performances took to the streets during festivals and special occasions, and elaborate shows attracted large audiences.Nanyin families, deeply rooted in scholarly traditions, passed down their skills through generations, fostering intergenerational transmission.These families thrived in rural cultural life, exemplifying the rich legacy of Chinese culture.Nanyin enthusiasts regularly gathered, fostering daily interaction and camaraderie.They also actively participated in government or institution led Nanyin gatherings, contributing to the art form's preservation and exchange.
The dynamic modes of "meeting friends through music" played a vital role in Nanyin's development, enriching its repertoire and fostering cultural exchange.This era witnessed the growth of Nanyin as a distinctive performance art form, preserving its vibrant heritage in the context of cultural studies and heritage education.

The historical development of Nanyin in Fujian performance art (Modern Times, 1949-1979)
Following the establishment of the People's Republic of China in 1949, Nanyin underwent a transition towards professional development.Professional research institutions like the Quanzhou Nanyin Research Institute, Xiamen Nanyin Research Association, and Quanzhou Folk Orchestra were established, contributing to the professionalization of Nanyin.During this period, various Nanyin art activities were organized, strengthening connections with Nanyin associations in Southeast Asian countries.These collaborations facilitated cultural sharing, expanded the influence of Nanyin overseas, and fostered new music creations.Notable works such as "Thank You Princess," "Sister Jiang," "Fujian Sea Fishing Song," and "Let a Hundred Flowers Bloom" emerged during this time.
According to the recollection of Li Baiyan, the "Quanzhou Nanyin Orchestra" was formed as a professional group in southern Fujian.Participants in the orchestra included both men and women of all ages.The organization focused on the inheritance of Nanyin tradition and cultivated professional talents in line with the contemporary context.Nanyin artists actively participated in urban cultural events, performing at various joyous occasions, festivals, rituals, and religious ceremonies.The sounds of Nanyin could be heard throughout the streets.
By the early 1960s, Nanyin had become the most representative folk music in southern Fujian, spreading across cities and towns.It transitioned from an amateur pursuit to a professional art form.The government implemented policies that supported the collection, collation, revision, editing, and research of Nanyin, providing resources and manpower for these endeavors.In terms of new music creation, traditional composition methods were followed, accompanied by enhancements in performance and singing skills, as well as theoretical research.Nanyin adapted to the contemporary environment and created new compositions that reflected the spirit of the times.
During this period, Nanyin experienced significant developments in terms of professionalization, cultural exchange, and the creation of new works.These efforts contributed to the preservation, promotion, and evolution of Nanyin as a vital component of cultural studies and heritage education.

The historical development of Nanyin in Fujian performance art (contemporary times, 1979-2022)
After the reform and opening in 1979, Fujian Nanyin experienced a revitalization.Artists and music associations dedicated themselves to preserving and promoting this cultural heritage by combining academic, historical, and aesthetic values.The Fujian government actively supported Nanyin by incorporating it into school curricula, fostering students' understanding of traditional culture.International recognition grew through the organization of global Nanyin concerts, facilitating cultural exchanges.
Professional musicians delved into southern musicology and historical research, uncovering significant documents like the Ming Dynasty's anthologies of strings and pipes.The late 1980s witnessed the creation of groundbreaking Nanyin productions, such as "Soul of Nanyin," which received widespread acclaim.Academic research flourished, with scholars contributing to a deeper understanding of Nanyin through publications.Comprehensive books like "Preliminary Exploration of Fujian Nanyin" and Nanyin" provided insights into Nanyin's development and characteristics.
Nanyin gained international recognition as a UNESCO World Heritage and a World Intangible Cultural Heritage.Educational institutions played a pivotal role, with Quanzhou Normal University establishing Nanyin majors, departments, and research bases.Nanyin education extended to primary and secondary schools, and efforts were made to digitize and preserve music scores.Modern technology facilitated Nanyin's communication and exploration of new performance styles.Noteworthy works like "Everlasting Sorrow" and "Nanyin Singing Together on the Treasure Island" received acclaim.
In the present day, Fujian Nanyin continues to receive attention from the government and the public.Educational institutions, including colleges and universities, offer specialized Nanyin programs to train future talents.The integration of Nanyin into higher education ensures its systematic and professional transmission.As Fujian Nanyin evolves and gains recognition, modern platforms secure its inheritance and enable its continued cultural legacy.
Table 5 summarizes each period's time frame, providing a summary of the key developments and contributions to cultural studies and heritage education in Nanyin Performance Art.

The Performance form of Nanyin Performance Art
In Nanyin, the performance form of singing and playing has evolved over time.Initially, it predominantly featured a single person holding clappers while singing.However, as history progressed, the forms of Nanyin singing became more diverse.This included duet singing, chorus singing, enchant singing, rotating singing, and group singing.The duet form involves two singers performing simultaneously.They may sing separately, playing different roles within the program and exchanging singing, or they may portray the same role with different moods and perspectives.Classic duet pieces like "Thank the Princess," "Worship the General," and "Heard When" exemplify this form.
Table singing, on the other hand, is not limited to two people.It can be arranged flexibly based on the repertoire, often featuring one main performer accompanied by others.In this form, several singers engage in role exchanges, creating a dynamic and expressive performance that enhances the stage and deepens the audience's understanding of the repertoire.An example of table singing is the song "My Hometown Is in Xiamen," which showcases the beauty of Xiamen through alternating performances by four female Nanyin singers.The song includes duets and choruses, praising the hometown of Xiamen while preserving the essential musical characteristics of Nanyin.It breaks away from the traditional sitting-and-singing performance form, with performers walking on stage while singing, adding richness and vitality to the performance.The incorporation of costumes, stage colors, and body movements further enhances the aesthetic appreciation of the piece.
These various forms of singing and playing in Nanyin demonstrate the evolution and versatility of this cultural art form.They contribute to the exploration of Nanyin's heritage and provide valuable insights in the field of cultural studies and heritage education (Figure 2).Nanyin repertoire includes songs like "Xiamen Jinmen Door to Door" and "The Gate of the Mansion," which celebrate the beauty and life of the hometown of Xiamen.These songs feature diverse singing and performing forms, including solo singing, chorus singing, and expressive body movements with carefully choreographed stage positions.Group singing in Nanyin involves the addition of multiple clappers, creating a performance form where several people take turns singing and engaging in choruses.For example, the group singing piece "Enjoy Spring" is accompanied by the top four wind instruments and clappers, with four performers holding the Nan Pa sitting across from each other.
These varied forms of accompaniment performances bring new characteristics to Nanyin, allowing for a more vivid and specific expression of the emotions conveyed in the repertoire.The performance of Nanyin Capricorns by the Xiamen Southern Orchestra during the BRICS Meeting incorporates music and dance.Adapted from the instrumental piece "Nanyin Capricorns One Hundred Birds Return to the Nest," the performance takes place on a magnificent stage, focusing on the main character's emotions and accompanied by symphonic music.It features many instrumental performances, with four wind instruments and percussionists situated in the middle stage, two rows of inclined performers with various Nanyin percussion instruments, and four dancers dancing in sync with the music.This creates a joyful and festive scene, reminiscent of a flock of homing birds, presenting a vivid and splendid performance.
These diverse performance forms within Nanyin highlight the artistic versatility and expressive capabilities of this cultural heritage.They contribute to the understanding and appreciation of Nanyin repertoire within the realms of cultural studies and heritage education (Figure 3).
The study on Nanyin Performance Art's contribution to cultural studies and heritage education revealed significant insights into the rich cultural significance and historical development of this traditional Chinese music genre from Fujian Province.By employing an interdisciplinary approach that incorporates musicology, ethnomusicology, historical musicology, and organology, the research provided a comprehensive understanding of Nanyin and its relevance to the fields of cultural studies and heritage education.
Through interviews with key informants, observations, and systematic data analysis, the research highlighted the enduring popularity and recognition of Nanyin, both domestically and internationally.The development of Nanyin was traced across different periods, showcasing its ancient origins, fusion with diverse musical influences, professionalization, and contemporary revitalization.
One of the significant findings was the diverse performance forms of Nanyin, which encompass various styles such as duet singing, chorus singing, enchant singing, rotating singing, and group singing.These performance forms demonstrated the artistic versatility and expressive capabilities of Nanyin as a cultural heritage.
Furthermore, the research aligned with theoretical principles in the field of musicology, shedding light on Nanyin's cultural significance and its crucial role in preserving China's traditional culture.The study emphasized Nanyin's potential for heritage education, offering opportunities to disseminate the exceptional traditional culture of Quanzhou Nanyin and contributing valuable insights to the realms of cultural studies and heritage education.Overall, Nanyin Performance Art's contribution to cultural studies and heritage education proves to be a compelling area for further exploration and appreciation of this invaluable cultural heritage.

DISCUSSION AND CONCLUSION
The study on Nanyin in Fujian has provided valuable insights into the cultural significance, developmental aspects, and unique musical characteristics of this traditional art form.The interdisciplinary approach combining musicology, ethnomusicology, historical musicology, and organology has contributed to a comprehensive understanding of Nanyin and its place within cultural studies and heritage education.Consistent with the research, Nanyin has been recognized  (Zhao et al., 2022).The research results highlight the cultural significance and widespread appreciation of Nanyin in Fujian, as evidenced by the presence of numerous Nanyin associations and its recognition as intangible cultural heritage (Yu, 2017).These findings align with the theoretical principles of musicology, ethnomusicology, historical musicology, and organology, which emphasize the analysis, interpretation, and contextualization of musical works, performances, and traditions (Middleton, 1990;Titon, 2008;Bonds, 2013;Baines, 1992).
The research methods employed, such as interviews and observations, have provided firsthand knowledge and indepth insights into Nanyin.The use of key informants who possess comprehensive understanding and skills in Nanyin contributes to the research's credibility and reliability.The data analysis process, involving transcription, coding, categorization, and interpretation, ensures a systematic and rigorous approach to analyzing the collected data.The research results emphasize the historical development of Nanyin in different periods, from its origin and formation to its modern and contemporary development.This historical progression reflects the evolution and adaptability of Nanyin as it incorporates influences from various musical elements and experiences professionalization and revitalization.The findings are consistent with the research's aim to gain a comprehensive understanding of Nanyin's cultural significance and developmental aspects.
The performance form of singing and playing in Nanyin, as discussed in the research results, highlights the artistic versatility and expressive capabilities of this cultural heritage.The evolution of Nanyin performances from single-person clapper performances to diverse forms, such as duet singing, chorus singing, and group singing, showcases the richness and adaptability of Nanyin.These findings align with the research's aim to explore the unique musical characteristics of Nanyin.
In conclusion, the research on Nanyin in Fujian has contributed to a comprehensive understanding of this traditional art form's cultural significance, developmental aspects, and unique musical characteristics.The interdisciplinary approach combining musicology, ethnomusicology, historical musicology, and organology has provided valuable insights consistent with the theoretical principles of these fields.The research methods, including interviews and observations, have provided firsthand knowledge and in-depth insights into Nanyin.The research results highlight the historical development of Nanyin in different periods, reflecting its evolution and adaptability.The performance form of singing and playing in Nanyin showcases the artistic versatility and expressive capabilities of this cultural heritage.
The in-depth exploration of Nanyin in Fujian has provided valuable insights into its cultural significance, historical development, and unique musical characteristics.This traditional Chinese music genre holds a profound connection to cultural studies and heritage education, making it a compelling subject for further investigation.
Overall, the research underscores the cultural significance of Nanyin in Fujian and its contribution to China's rich traditional culture.It provides a foundation for further studies and highlights the importance of cultural heritage in cultural studies and heritage education.

Table 1 .
Information about Quanzhou City, Fujian Province,

Table 2 .
Information about Nanyin in China

Table 4 .
Background information of the informants -National non-hereditary inheritor of Nanyin -Active in Nanyin art circle for about 60 years -Taught Nanyin singing and pipa playing at Fujian Art School

The Historical Development of Nanyin in Fujian Performance Art The origin and formation of Nanyin performance art
history and is deeply rooted in the cultural heritage of Quanzhou, Fujian Province.It has spread across Fujian, Taiwan, Hong Kong, Macao, and other Hokkien-speaking regions in Southeast Asia.Nanyin Performance Art comprises three main components: "finger," "spectrum," and "qu," representing a traditional form of ethnic music with distinct local characteristics.Its origins can be traced back to Quanzhou and its development has retained the singing and playing traditions of the Han Dynasty's "Xianghe Ge." Drawing influences from Tang and Song music, Nanyin Performance Art is intricately connected to Gongchi musical notation, musical instruments, palace tunes, beat, and rhyme.It has also become an integral part of Liyuan Opera, Gaojia Opera, Quanzhou puppet show, Batcheng Opera, and other local operas, contributing to the vocal singing and scene music in these performances.With its historical significance and profound cultural value, Nanyin Performance Art has captivated the attention of scholars and experts worldwide, earning the distinction of being referred to as a "living music history" and a "living fossil" of Chinese traditional music.
research results emphasize the cultural significance and widespread appreciation of Fujian Nanyin, a form of Nanyin performance art, in Quanzhou.With a presence of over 230 Nanyin associations in the city, this traditional art form is predominantly passed down through oral and song transmission.Nanyin Performance Art, known by various names such as Nanyin, Nanyuan, Xianguan, Nanqu, and Nanyue, has a rich

Table 5 .
The four periods of Nanyin performance art It is incorporated into school curricula and specialized programs.Modern technology is utilized for communication and exploration of new performance styles.Preservation and promotion efforts focus on educational initiatives.