Abstract

The study on the preservation and transmission of Lusheng knowledge in Qiandongnan Miao and Dong Autonomous Prefecture, Guizhou Province, China, yields important findings. It begins by detailing the traditional 6-pipe Lusheng’s production process, stressing its employment on numerous cultural occasions but its limited applicability for solo performances owing to its narrow tonal range. Throughout, regional differences in Lusheng scale configurations contribute to a variety of musical styles. Mr. Dong Dan Gan is a key figure in the growth of Lusheng instruments. It starts with the 8-pipe Lusheng, then moves on to the 11-pipe version, which expands tonal potential. Subsequent variations, such as the 12-pipe, 13-pipe, 14-pipe, 16-pipe, 19-pipe, and ground-breaking 18-pipe, 21-tone Lusheng, increased adaptability and melodic possibilities even more. Moreover, Lusheng has a wider tone range. These advancements accommodate varied musical traditions and help to preserve and disseminate Lusheng knowledge, strengthening the cultural legacy. And efforts have enhanced Lusheng music greatly, aiding its transmission and cultural continuation.

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