Cultural Inheritance and Technical Innovation of Mongolian Plucked Instruments from the Perspective of Intangible Cultural Heritage:A Case Study of the Quintet "Daru Laga under the Blue Sky"

Authors

  • Yixu Qiao School of Culture and Communication, South China Business College, Guangdong University of Foreign Studies, Guangzhou, China

Keywords:

Creative techniques, cultural heritage, perspective of intangible cultural heritage, plucked instrument quintet, "Under the Blue Sky: DaRuLaGa"

Abstract

Contemporary Mongolian instrumental compositions exhibit a developmental trend characterized by the integration of traditional cultural heritage with modern compositional techniques. Plucked ensemble music, as a vital vehicle for ethnic chamber music, plays a pivotal role in the creative transformation and innovative evolution of traditional folk music. "Under the Blue Sky: Darulagha" is a representative original Mongolian-themed plucked quintet featuring a unique five-part instrumentation comprising liuqin, three pipas, and zhongruan, seamlessly blending Ordos Mongolian folk culture, traditional musical elements, and contemporary compositional approaches. This study transcends conventional technical analyses by examining three core dimensions: innovations in modern compositional techniques, systematic interpretation of cultural significance, and refined multi-part performance execution. It systematically examines the work's tripartite structure, innovations in ethnic modes, and the application logic of aleatory music techniques, while uncovering its embedded Mongolian wedding customs and nomadic spiritual essence. Drawing on practical ensemble performance experience, the study establishes core performance methodologies for technical control, timbral integration, and multi-part musical dialogue. This research enriches the theoretical framework of Mongolian plucked chamber music, providing robust theoretical and practical foundations for in-depth research and global dissemination of similar ethnic instrumental works, thereby facilitating the preservation and innovative development of ethnic music within the international artistic landscape.

Downloads

Download data is not yet available.

References

Banningqiu, & Jin, B. (2026). National-level intangible cultural heritage: Cross-media narrative and design research on Fushun Manchu Diyangge [in Chinese]. Packaging Engineering, 47(4), 486–501. https://doi.org/10.19554/j.cnki.1001-3563.2026.04.042

Gao, H. (2022). Poetic-pictorial artistic conception, urban imagery and creative ideas—An analysis of Liu Hao’s national plucked instrument compositions [in Chinese]. People’s Music, (10), 22–26. https://doi.org/10.3969/j.issn.0447-6573.2022.10.005

Guo, H. (2026). Contemporary inheritance of traditional music from the perspective of intangible cultural heritage protection—A case study of Mongolian traditional music [in Chinese]. Famous Masters & Masterpieces, (11), 117–120. https://doi.org/10.3969/j.issn.2095-8854.2026.11.030

Han, J. (2023). Modern French music in dialogue with Mongolian folk songs: A performance study of F. Angelès’s China Theme Fantasy—The Beautiful Grassland, My Home [in Chinese] [Master’s thesis, Taiyuan Normal University]. Wanfang Data. https://doi.org/10.27844/d.cnki.gtysf.2023.000221

Hu, H. H., Zhu, Y., & Han, L. T. (2024). Research on the popularization and communication development of guqin music in the new media era [in Chinese]. Drama House, (29), 92–94. https://doi.org/10.3969/j.issn.1007-0125.2024.29.030

Jing, H. (2024). An analysis of characteristics and inheritance strategies of Lingnan folk dance culture from the perspective of intangible cultural heritage [in Chinese]. Culture Journal, (8), 70–73. https://yalu-lib.ynu.edu.cn/article/detail.aspx?id=7112953346

Lan, W. W. (2023). Form, spirit and artistic conception—Analysis on the performance characteristics of the National Chamber Orchestra of the Central Conservatory of Music [in Chinese]. People’s Music, (5), 39–41. https://doi.org/10.3969/j.issn.0447-6573.2023.05.008

Liu, Y., & Liu, H. (2021). Meta-theoretical interpretation of Chinese instrumental performance art [in Chinese]. People’s Music, (4), 29–33. https://doi.org/10.3969/j.issn.0447-6573.2021.04.007

Peng, L. Y. (2025). A study on the musical creation and pipa performance art of pipa ensemble suite Four Seasons [in Chinese] [Master’s thesis, Shanghai Conservatory of Music]. CNKI. https://doi.org/10.27319/d.cnki.gsyyy.2025.000128

Qian, L. (2024). Tracing its form and exploring its charm—A musical analysis of string quintet Splendid Scenery [in Chinese]. Modern Music, (11), 128–130. https://hagjzx.dps.qikan.cn/pc/maga/text-read?id=ddsx20241141

Qiao, Y. X. (2023). The artistic characteristics and performance interpretation of plucked quintet: A case study of Darulaga under the blue sky [in Chinese] [Master’s thesis, Inner Mongolia Arts University]. CNKI. https://doi.org/10.44569/d.cnki.gcbia.2023.000090

Tang, J. (2021). The "form" and "state" of piano music based on Chinese folk song themes [in Chinese]. Journal of Qiqihar University (Philosophy & Social Science Edition), (9), 160–163, 173. https://doi.org/10.13971/j.cnki.cn23-1435/c.2021.09.038

Wang, Y. F. (2021). Regional cultural characteristics in national orchestral music—Analysis and discussion based on plucked instrument groups [in Chinese]. Art of Music (Journal of the Shanghai Conservatory of Music), (2), 126–139, 5. https://doi.org/10.19359/j.cn31-1004/j.2021.02.009

Xiang, M., & Li, T. R. (2025). The motional logic of music elements [in Chinese]. Journal of the Central Conservatory of Music, 179(2), 78–96. https://doi.org/10.16504/j.cnki.cn11-1183/j.2025.02.006

Xu, X. (2026). How performers are present—Taking Li Jia’s "Monologue" Pipa Concert & Commemoration of Liu Dehai and Liu Tianhua as an example [in Chinese]. People’s Music, (3), 41–44. https://doi.org/10.3969/j.issn.0447-6573.2026.03.011

Yang, G. Y., & Lin, X. L. (2025). On the penetration and popularization of national musical instruments in mass culture—Take the ruan as an example [in Chinese]. China National Expo, (4), 65–67. https://doi.org/10.3969/j.issn.1007-4198.2025.04.023

Yu, P., & Wang, G. H. (2022). An analysis of "combinations" and the disciplinary construction of Chinese folk dance (Part II) [in Chinese]. Journal of Nanjing Arts Institute (Music & Performance), (6), 159–175. https://doi.org/10.3969/j.issn.1008-9667.2022.06.027

Yuan, Y. (2024). Wang Jianmin’s erhu rhapsody: Telling China’s stories and narrating national chapters [in Chinese]. Musical Works, (4), 110–121. http://d.wanfangdata.com.cn/periodical/yycz202404016

Zhang, T., Wang, H. J., & Ding, Z. Y. (2022). On the origin, inheritance and change of Mongolian traditional musical instruments—Take Mongolian orchestras in Inner Mongolia as an example [in Chinese]. Journal of Jining Normal University, 44(6), 110–114. https://doi.org/10.3969/j.issn.2095-3771.2022.06.022

Zhao, J. (2020). The beauty of linear singing—Similarities, differences and application of pipa linear tone techniques [in Chinese]. Modern Music, (6), 104–107. https://doi.org/10.3969/j.issn.1007-2233.2020.06.045

Zhao, Y. (2024). A study on the formation logic of Ordos Mongolian women’s traditional costume characteristics based on affair theory [in Chinese] [Master’s thesis, Inner Mongolia University of Technology]. Wanfang Data. http://d.wanfangdata.com.cn/thesis/D03738544

Zhu, X. G. (2023). Research on single timbre construction and instrument combination of national chamber music [in Chinese]. Journal of Zhejiang Vocational Academy of Art, 21(4), 77–84. https://doi.org/10.3969/j.issn.1672-2795.2023.4.zjyszyxyxb202304013

Downloads

Published

2026-06-30

How to Cite

Qiao, Y. (2026). Cultural Inheritance and Technical Innovation of Mongolian Plucked Instruments from the Perspective of Intangible Cultural Heritage:A Case Study of the Quintet "Daru Laga under the Blue Sky". Asian Arts and Society Journal, 2(1), 35–49. retrieved from https://so13.tci-thaijo.org/index.php/AASJ/article/view/4129

Issue

Section

Research Article