The singing form of Jinqian Clapper is originally born for the minority of Chinese people. It has the characteristics of one-person singing, simple rhythm, rich resources, and humorous and interesting content. In the past, this kind of performance has had great performance results. However, based on the search results from JSTOR, Google Scholar, and CNKI (China National Knowledge Infrastructure), it appears that there is a lack of references in the study of Sichuan Jinqian Clapper. While there are some articles and studies that mention Sichuan Jinqian Clapper, the number of references is relatively small compared to other topics in Chinese music. The aim of this study is to investigate the artistic elements that bring together the incorporation of vocal and storytelling components, the rhythmic attributes of the bamboo clapper instrument, and the overall ambiance established through dance and drama in Jinqian Clapper performances. There are three objectives of this study. First is to identify the integration of vocal and storytelling platforms in of the Jinqian clapper performance. Second is to identify the rhythmic elements of the Jinqian clapper instrument. Third is purpose the Contemporary Style in the Jinqian clapper performance. The significance of this study is to enhance the globally promotion of traditional culture, preserve and transmit these cultural traditions, and provide valuable insights to enhance the musical knowledge of Jinqian Clapper performers.
Baumann, M. P. (2000). The local and the global: Traditional musical instruments and modernization. the world of music, 121-144.
Brace, T. (1991). Popular music in contemporary Beijing: modernism and cultural identity. Asian Music, 22(2), 43-66.
Bryan-Kinns, N., & Li, Z. (2020). ReImagining: cross-cultural co-creation of a Chinese traditional musical instrument with digital technologies. In NIME’20, 1-6.
Chen, X. (2022). The integration and application of beautiful vocal singing in popular songs - Take ‘River of the Mother of the Prairie’ as an example. Artist, 11, 83-85.
Chen, Y. (2019). A Comparative Study on Curriculum and Teaching of Bel Canto Majors in China and America (PhD dissertation) East China Normal University.
Dai, Y. (2022). Research on the Development and Spread of Traditional Chinese Folk Music. Art Tasting, 14, 47-49.
Djahwasi, H. R., & Saidon, Z. L. Bin. (2022). Writing Artistic Research Report on WesternClassical Music Performance: The Important Aspects to Be Voiced Out by A Performer Researcher.International Journal of Academic Research in Business and Social Sciences, 12(12), 58 – 72.
Du, Z. (2022). On the Inheritance and Reference of National Vocal Music Singing to Peking Opera (Master’s Thesis). Tianjin Conservatory of Music.
Gao, S. (2020). Study on the International Communication of Excellent Traditional Chinese Culture. Journal of Qiqihar University, 10, 38-19.
HeJun, Li,H.C.&Gao,Z.Q.(1993).An Overview of the Chinese Encyclopedia.
Han, X. (2018). Analysis of the Status and Differences of Audiences in the International Communication System of Folk Culture – Take the international dissemination of Qingyang folk culture as an example. Journal of Yu Dong College, 04, 83-87.
Hill, J. (2007). “Global Folk Music” Fusions: The Reification of Transnational Relationships and the Ethics of Cross-Cultural Appropriations in Finnish Contemporary Folk Music. Yearbook for traditional music, 39, 50-83.
Hong, X. & Xiaotong Nationality. (2015). Sichuan Quyi’s innovative elements and their role – Musical with money (Che Yaoxian) and large-scale scenario quyi (Shu Yun Township) Examples. Sichuan Drama, 04, 127-130.
Hong, X., & Wu, Y. H. (2022). The use of AR to preserve and popularize traditional Chinese musical instruments as part of the formation of the tourist attractiveness of the national art of Guizhou province. Digital Scholarship in the Humanities, 37(2), 426-440.
Howard, K. (Ed.). (2016). Music as intangible cultural heritage: Policy, ideology, and practice in the preservation of East Asian traditions. Routledge.
Huang, H. (2012). Why Chinese people play Western classical music: Transcultural roots of music philosophy. International Journal of Music Education, 30(2), 161-176.
Huang, Y. (2019). A Study of Tan Weiwei’s Skills and Style in Singing Popular Songs (Master’s Thesis). Hunan University of Science and Technology.
Humph. (2020). Analysis of techniques for drawing on aesthetic vocal singing in folk singing practice (Master’s thesis). Inner Mongolia Normal University.
Jiang, Y. (2021). Research on Nationality and Bel Canto Singing Style (Master’s Thesis), Qingdao University.
Jin, J. (2011). Chinese music. Cambridge University Press.
Jing, H., & Sensai, P. (2023). “Er Ren Tai” Performance in Hequ, China (Doctoral dissertation, Mahasarakham University).
Khan, M., & De Byl, P. (2011). Preserving our Past with Toys of the Future. In Ascilite.
Kou, Y. (2007). Modernization of Indian Traditional Culture (Master’s Thesis). Hebei Normal University.
Liu Ke. (2022). I see the inheritance of folk singing. Tomorrow Fashion, 06, 13-16.
Li, L. (2022). Research on the Development of Intangible Heritage in Contemporary Traditional Theatre (Master’s Thesis). Chinese Academy of Arts.
Li, Q. (2018). Characteristics of Early Electronic Music Composition in China’s Mainland. Contemporary Music Review, 37(1-2), 135-146.
Li, Q., & Maneewattana, C. (2022). An Analysis Of Chinese Song Singing Techniques In The Perspective Of Narratology. Journal of Positive School Psychology, 6(7), 5307-5318.
Li, R. (2022). Chinese folk music: Study and dissemination through online learning courses. Education and Information Technologies, 27(7), 8997-9013.
Li, W. (2019). Investigation on the Sinicization Process of Chinese Vocal Singing in the Perspective of the History of Chinese Opera (Doctoral Thesis). Nanjing Academy of Art.
Li, Y. (2021). Beautiful singing in opera (outdoor) (Daughter of the Party) in Applied Research (Master’s Thesis). Shenyang Normal University.
Li, Y. (2016). Influence of Beautiful Vocal Singing on Folk Singing Skills (Master’s Thesis). Jilin University.
Li, Y. (2022). Research on inheritance and conservation of Hunan ethnic minority folk dance under intangible cultural heritage. Journal of Cultural Studies, 07, 18-20.
Lin, X. (2018). Analysis of the inheritance, reform and innovation of Sichuan gold plate. Theatre House, 02, 30.
Liu, B. (2021). The Fusion of National Singing and Popular Singing in Vocal Music Singing. Art and Performance Letters, 2(4), 65-68.
Liu, R. (2014). A Study on the Integration of Sound, Ethnicity and Popular Singing (Master’s Thesis). Hebei University.
Liu, Y. & Hu, H. (2021). On the regional and popular cultural characteristics of the Sichuan money board. Comedy World (Second half of the month), 11, 80-81.
Liu, Y. (2021). Exploration of the development of contemporary Sichuan money board art. Chinese Literary Artists, 07, 191-192.
Liu, Z. (2009). Inheritance and education of classical music in India (Master’s thesis). Central National University.
Lu, C. D. (1994). A theatre of musicality: a methodology for developing a performance style based on the aesthetic principles of Chinese theatre. University of California, Los Angeles.
Luo, Z. (2019). Sichuan Money Plate Communication Pattern Research (Master’s Thesis). Xihua Normal University.
Mabry, S. (2002). Exploring Twentieth-century Vocal Music: A Practical Guide to Innovations in Performance and Repertoire. Oxford: Oxford University Press.
Murray-Browne, T. (2012). Interactive music: Balancing creative freedom with musical development (Doctoral dissertation, Queen Mary University of London).
Mu, Y. (2021). Application of Beautiful Vocal Singing in the Original Chinese Folk Opera Orchid (Master’s Thesis). China Conservatory of Music.
Ouyang, Z., Gu, J.H. & Cao, Z.G. (1993). Concise Dictionary of Art. China Peace Publishing House Stake, R. E. (1995). The art of case study research. Modern Language Journal, 80(4).
Oppenheim, D. V., Phillips, A., & Hollander, R. (2019). How Music Technology Will Impact Personal Creative Expression. In Digitized (pp. 41-71). Emerald Publishing Limited.
Pajares, F. & Urdan, T. E. (2002). Academic motivation of adolescents. Connecticut: Information Age Publishing
Sborgi Lawson, F. R. (2012). Consilience revisited: Musical and scientific approaches to Chinese performance. Ethnomusicology, 56(1), 86-111.
Sun, D. D. (2022). Research on measures for intangible heritage conservation and inheritance of traditional arts (Master’s thesis). Anhui University of Technology.
Su, J. (2021). A Difficult Integration of Authenticity and Intangible Cultural Heritage? The Case of Yunnan, China. China Perspectives, (2021/3), 29-39.
Wang, J. 2022). Literature analysis and disciplinary development research of Chinese vocal music (2011-2021) (Master’s Thesis). China Conservatory of Music.
Wang, L. (2017). Aesthetic Characteristics and development of Chinese national vocal music. In 2017 International Conference on Innovations in Economic Management and Social Science (IEMSS 2017) (pp. 1390-1394). Atlantis Press
Wang, Y. (2019). Exploration and Innovation of Commercialization of Intangible Cultural Heritage in the Community Era – Chengdu sugar painting and money board as an example. China Business Theory, 35, 164-166.
Xie, S. (2022). Sichuan money board music culture change from the perspective of functional theory – Taking Chengdu as an example. Contemporary music, 05, 79-81.
Xiong, G. & Liu, P. (2022). From volunteer fighters to the backbone of the missionary group of the ideals and beliefs of the Guanxi Workers’ Committee Wanzhou District Chongqing ‘Five old’ Peng Daoming hit the money board to speak of the spirit god. China Torch, 07, 57-59.
Xu, C. (2019). Interpreting the characteristics of Sichuan’s money and money board in the dual dimensions of culture and art. World Premiere, 08, 153-155.
Xudayberganov, S. & Yuldashov, S. (2021). Suvora-khorezmian national song. Asian Journal of Multidimensional Research (AJMR), 10(3), 607-611.
Xue, X. (2019). Development of the Money Board in the New Media Era. Press Releases, 14, 211-212.
Yuan, Z. (2022). Research on intangible cultural heritage boosting rural revitalization paths (Master’s thesis). Qinghai University.
Yu, J. (2022). When the local encounters the global: aesthetic conflicts in the Chinese traditional music world. The Journal of Chinese Sociology, 9(1), 6
Zhang, X. (2021). Analysis of Chinese and Western Opera Singing Styles in Teaching (Master’s Thesis). Jilin University of Arts.
Zhang, Z. (2022). Analysis on Strategies for Promoting the Inheritance of Folk Music in the Context of “Intangible Heritage”. Artistic Outlook, 13, 19-21
Zhong, T. (2020). On the musical characteristics of the Sichuan money board. Theatre House, 23, 18-19.
Zhong, T. (2020). On the Origin and Development of Sichuan Money Board. Theatre House, 21, 55-56.
Zhong, T. (2020). On the popularity and flexibility of Sichuan Money Board. Theatre House, 20, 47-48.
Zhong, T. (2020). On the Educational and Entertainment Functions of Sichuan Money Board. Journal of Sichuan College of Arts and Sciences. 02, 132-137.
Zhao, W. (2023). Regional Cultural Characteristics and Heritage in Chinese Ethnic Music Composition. Arts, Culture and Language, 1(1).
Zhou, K., Wang, K., & Lin, X. (2021). Research on the inheritance and protection of folk art and culture from the perspective of network cultural governance. Plos one, 16(2), e0246404.
Zhuo, S. (2015). The Chinese zheng zither: contemporary transformations. Ashgate Publishing, Ltd
Zhou, Q. (2015). the first vocal exploration of rap art – Sichuan Money Board (Xiu Cai Crossing the Ditch) Singing, I see. Music Composition, 05, 151-152.
Zou, Z. (2015). Sichuan Money Board: Xiu Cai Crossing the Ditch. Qu Yi, 10, 62-63.
Zhong, T. (2012). On the protection and inheritance of Sichuan money board – From the Money Board musical (Che Yaoxian) Talking about. Music Time and Space (Theoretical version), 07, 38-39.
Zhong, T. (2012). On Zou Zhong’s new money board performance art. Musical Grand View, 04, 136-137.
Zhong, T. (2012). On the Influence of Sichuan Teahouse Culture on the Sichuan Gold Plate. Mass Literature and Art, 13, 207-208.
Zhong, T. (2020). On the Origin and Development of Sichuan Money Board. Theatre House, 21, 55-56.
Zhong, T. (2020). On the musical characteristics of the Sichuan money board. Theatre House, 23, 18-19.
