In July 2000 the author undertook fieldwork among the Yao, an ethnic minority in southern China, in the three locations; 1) Lipu Prefecture in the Guang Xi Zhuang Autonomous District; 2) Jin Xiu Yao Self-Governing Prefecture; and 3) He Kou Yao Prefecture in Yunnan Province. As a result of this fieldwork I learnt that the central role of percussion instruments in Yao musical performance is considered a long-standing tradition. Using my initial training as historical musicologist I decided to study historical documents relating to
changgu (hourglass-shaped drum) and
tonggu (“bronze drum”), two major musical instruments of the Yao, and to relate the results of my historical research to that of my ethnomusicological fieldwork.
Analysis of Tang and Song Dynasty literature gave the following insights into the development of Yao music:
Firstly, evidence of diachronic change in the
changgu tradition and suggestions of methods of transition of the repertoire came to light. Examination of a district magazine published in the Qing Dynasty indicated that the name of the instrument and the materials of the parts of the instrument have changed over time.
Furthermore, one of the most interesting characteristics of the Yao dance, the physical posture of the dancers namely, reminiscent of the position of farmers when weeding, appears to be related to similar descriptions of movement found in the literature.
Finally, the literature indicates that the high status of the
tonggu, a type of gong treasured by the Yao, may have originated in the Sui Dynasty.
The author is of the opinion that the methodology presented, which attempts to correlate historical studies with cultural anthropology, may be used to expand the research perspectives concerning music of minority cultures.
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