Оңтүстік Қытай музыкасы: Этностық ерекшеліктері мен дәстүрлері

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The music of the southern China has many features that are distinct from the rest of the country. For instance, many folk songs only use three notes. The region is home to significant populations of ethnic minorities, such as the Zhuang, Miao, She and Tai peoples. Lingnan (嶺南) is a generic term for the lands of southern China that covers Guangdong, Guangxi, Hunan and Jiangxi. The area, motherland of ancient Nanyue, was inhabited by the Baiyue, considered barbarians having loose contact with the Zhongyuan region, the centre of Chinese culture. In the 2nd century BC, the region was absorbed into the Middle Kingdom.

Fujian (福建) is a mountainous coastal province of China. Its provincial capital is Fuzhou, while Quanzhou was a major port in the 7th century CE, the period between the Sui and Tang eras. Situated upon an important maritime trade route, it was a conduit for elements of distant cultures. The result was what is now known as nanguan music, which today preserves many archaic features. From the 17th century the Hoklo immigrated from Fujian to Taiwan and took with them informal folk music as well as more ritualized instrumental and operatic forms taught in amateur clubs, such as beiguan and nanguan. Large populations of similar background can also be found in Malaysia, Guangdong, Hong Kong, Philippines, Singapore, Burma, Thailand and Indonesia, where they are usually referred to as Hokkien ("Fujian" in Min Nan Chinese). There are two nanguan associations in Singapore, and formerly there were several in the Philippines: Tiong Ho Long Kun sia is one that is still active. Gang a tsui and Han Tang Yuefu have popularised the nanguan ensemble abroad. A Quanzhou Nanguan Music Ensemble was founded in the early 1960s and there is a Fuzhou Folk Music Ensemble, founded in 1990. Shifan （十番）is a kind of percussive music that accompanied the Dragon Lantern Dance. A troupe from Fujian is known to have performed the dance for an emperor of the Qing dynasty. Over time string and wind instruments have been added. Chanhe （禪和）arose out of the Chanhe School of Buddhism from chanting accompanied by percussion instruments such as chimes and drums. In the early 1920s, wind and string instruments were added.

Guangdong xiaoqu is the sizhu (chamber music) tradition native to the Pearl River delta area centered in Guangzhou (Canton). In modern times Guangdong has become known for Guangdong music (later Guangdong folk tunes), a synthesis of a number of local folk music styles (like kunqu opera), intended as an accompaniment for the region's folk operas when it arose along the Pearl River Delta in the 1920s. It had evolved into a string ensemble format by the 1960s, led by the gaohu with ruan, qinqin, yangqin, sanxian, yehu, and various woodwind (including houguan or saxophone) and percussion instruments. Formerly, bowed stringed instruments such as the erxian and tiqin were used. Compositions by the noted gaohu player Lü Wencheng (吕文成, 1898–1981) remain particularly popular. Chaozhou (also known as Teochew) music (潮州音乐) includes Teochew string music (潮州弦诗), Teochew gong and drum (潮州大锣鼓), and Chaoyang flute music (潮阳笛套). The Chaozhou guzheng (潮州古筝) is regarded as a major member of the southern guzheng family. Hakka hill songs ( ) are a type of shan'ge (山歌), "mountain song" characteristic of the Guangdong region. They vary in theme from love to personal conduct. Said to have been used for courting, they are also used as a form of communication at a distance. Hakka hill songs can be made up impromptu, to communicate with others or to express oneself. The lyrics can also be made to contain puzzles as a game or competition. The challenger will answer the puzzle in the form of song of similar melody.

The Gin people are known for their instrument called duxianqin (独弦琴, pinyin: dúxiánqín; lit. "single string zither"), a string instrument with only one string, said to date back to the 8th century. It is called đàn bầu in Vietnamese. The Zhuang people are known for their bayin (八 音) instrumental ensemble, which includes such instruments as the maguhu, tuhu, huluhu, sanxian, drums, and cymbals, as well as other instruments. The Guangxi Zhuang Autonomous Region's most famous modern musician is Sister Liu, who was the subject of a 1960s film that introduced Guangxi's cultures to the rest of the world.

Guizhou's folk tradition includes the song "Red Flower", which spread across China in the 1950s. The song came from the Buyi people. The Shui people use instruments like the lusheng, bronze drums and horns.

The music of the Hakka peoples is found in Jiangxi, Fujian and Guangdong. Hakka music is literary and laid back in tone and is entirely pentatonic.

Jiangxi's opera heritage played a major role in the evolution of Beijing opera. Cantonese opera is the operatic style of Guangdong, but Chaozhou opera (潮劇), which has a history of more than 500 years, based on local folk dances and ballads, formed its own style under the influence of Nanxi Opera, a style that originated during the Song dynasty. Its tunes are graceful and pleasant, full of local color. The old form of choral accompaniment still remains a special feature. Clowns and females are the most distinctive characters in a Chaozhou opera, and fan playing and acrobatic skills are more prominent than in other types of performances. Guiju (桂剧), an indigenous form of opera from Guangxi, is most popular in the northern and eastern parts of the province, particularly around the city of Guilin, for which the genre is named. It is similar to Beijing opera but is sung in the Guilin dialect of Chinese.

There is a Music and Dance Festival of Fujian Province, a Baihua Arts and Cultural Festival of Fuzhou Municipality. The cities of Xiamen and Quanzhou have applied to UNESCO for recognition as masterpieces of the oral and intangible heritage of humanity. Musical institutions in Guangdong include the Guangdong International Summer Music Festival.