Thoughts on the Inheritance and Development of Chinese Traditional Music Empowered by Social Media
DOI:
https://doi.org/10.54097/y35w2g83Keywords:
Social Media, Traditional Music, Cultural Inheritance, Activate Innovation, Digital CommunicationAbstract
Chinese traditional music originates from folk culture and is a distinctive artistic form of our country's outstanding traditional culture, carrying the characteristics of national aesthetics and the cultural veins of regional folk customs. Traditional music in China has long been passed down through apprenticeship, university education and offline performances, with its dissemination limited to the professional circle and having few channels for public access. The low level of popularization directly leads to a shortage of young inheritors and weak innovation motivation in the industry, restricting the inheritance and modernization development of traditional music. The popularity of social media has changed the way domestic culture is disseminated, breaking the time and space and circle limitations of traditional music dissemination. Small-scale music forms such as operas and folk minor tunes have been able to reach the public through online platforms, effectively expanding the coverage of dissemination and promoting the integration of traditional music with the tourism and cultural industries, broadening the industrialization path of traditional culture. At the same time, the operational model of platform traffic orientation has generated negative dissemination issues. Some creators, in order to gain popularity and adapt to fragmented dissemination scenarios, randomly simplify and adapt traditional music classics, producing a large amount of homogenized and superficial content. This kind of secondary creation departs from the original artistic framework and cultural connotations of traditional music, weakening the historical depth and artistic value of the works, and is not conducive to the dynamic and original inheritance of traditional music. Based on the current dissemination situation of traditional music on social media, combined with existing research and industry reality, this paper analyzes the positive effects and existing problems of new media on the inheritance of traditional music. The research proposes optimization countermeasures from three dimensions: content innovation, ecological governance, and industry supervision, to improve the digital inheritance model of traditional music, help the industry achieve long-term development, and provide references for the related practices of traditional music dissemination on new media.
Downloads
References
[1] Lim, C. K. N., & Zhang, M. (2023). Chinese national music platformisation: A systematic review. Heliyon, 9(11), e22304. https://doi.org/10.1016/j.heliyon.2023.e22304. DOI: https://doi.org/10.1016/j.heliyon.2023.e22304
[2] Yu, H., & Schroeder, S. (2018). Distribution and popularity patterns of Chinese music on YouTube: A case study of local music’s representation on a global internet platform. Journal of New Music Research, 47(1), 68–77. https://doi.org/10.1080/09298215.2017.1411444. DOI: https://doi.org/10.1080/09298215.2017.1369129
[3] Xiong, Y. (2024). Analysis of internet communication effect and influencing factors of traditional music. Applied Mathematics and Nonlinear Sciences. https://doi.org/10.2478/amns.2024.1.0072. DOI: https://doi.org/10.2478/amns-2024-3254
[4] Gong, Y. (2023). The status quo of digital publishing in Chinese national music. Journal of Publishing Science, 12(3), 45–52.
[5] Cao, H. (2025). Exploring the promotion of musical intangible cultural heritage under TikTok short videos. Scientific Reports, 15(1), 21772. https://doi.org/10.1038/s41598-025-06481-2. DOI: https://doi.org/10.1038/s41598-025-09723-3
[6] Hu, G. (2023). Analysis of the Tiktok (China)'s traditional culture communication innovation. Media and Communication Research, 6(2), 12–20.
[7] Zeng, M. (2023). From stage to online: Reinvention of Cantonese opera. International Journal of Social Sciences and Artistic Innovations, 3(1), 15–23. DOI: https://doi.org/10.35745/ijssai2023v03.01.0003
[8] Liu, M., Chen, X., He, W., et al. (2026). AI-enhanced big data content analysis of Weibo for digital cultural heritage: Insights into Sichuan opera. Social Sciences and Humanities, 3(3), 15–27. DOI: https://doi.org/10.63313/SSH.9080
[9] Wu, S., & Tan, Y. (2023). Study on the development of the Huangmei Opera in Anhui province exerted by short video from the cross-cultural perspective. Frontiers in Humanities and Social Sciences, 5(4), 78–85. DOI: https://doi.org/10.54691/fhss.v3i11.5768
[10] Kuang, J., & He, L. (2022). From oblivion to reappearance: A multi-faceted evaluation of the sustainability of folk music in Yunnan province of China. SAGE Open, 12(3). https://doi.org/10.1177/21582440221114214. DOI: https://doi.org/10.1177/21582440221117806
[11] He, L., Luo, J., & He, J. (2020). The media use of Liuzhou folk song inheritance in China: According to the investigation in Yufeng folk song field under Yufeng mountain in Liuzhou city. Higher Education of Social Science, 19(2), 112–120.
[12] Tang, W., & Zhang, S. (2024). Exploring the role of artificial intelligence in the protection of intangible cultural heritage through short video communication. Journal of Electrical Systems, 20(3), 1–12. DOI: https://doi.org/10.52783/jes.3436
[13] Wang, J. (2021). Preservation and promotion of China’s musical cultural heritage on the internet. Heritage Science, 9(1), 135. https://doi.org/10.1186/s40494-021-00619-0. DOI: https://doi.org/10.1186/s40494-021-00612-2
[14] Zou, R., & Jiang, L. (2025). Factors influencing Chinese folk music transmission via the Douyin short video platform: A grounded theory perspective. Frontiers in Communication, 10. https://doi.org/10.3389/fcomm.2025.1520761. DOI: https://doi.org/10.3389/fcomm.2025.1537640
[15] Tao, S. (2024). Sustaining minoritized culture, community and well-being through online traditional music making: A case study of Bai urban migrants in China. International Journal of Community Music, 17(3), 361–382. https://doi.org/10.1386/ijcm_00187_1. DOI: https://doi.org/10.1386/ijcm_00113_1
[16] Shang, Y. (2026). Research on the communication effects of Chinese traditional ethnic music culture based on online community interaction data. International Journal of Cognitive Informatics and Natural Intelligence, 20(1). DOI: https://doi.org/10.4018/IJCINI.416292
[17] Lv, H. (2025). Optimizing the dissemination path of Chinese folk music based on an intelligent recommendation algorithm. Media and Communication Research, 6, 143–151. DOI: https://doi.org/10.23977/mediacr.2025.060417
[18] Su, J. (2018). Conceptualising the subjective authenticity of intangible cultural heritage. International Journal of Heritage Studies, 24(9), 919–937. https://doi.org/10.1080/13527258.2018.1442956. DOI: https://doi.org/10.1080/13527258.2018.1428662
[19] Rees, H. (2018). Virtual fieldwork on Chinese folk songs: The participatory culture of online Hua’er videos. Journal of World Popular Music, 3(2), 167–196. https://doi.org/10.1558/jwpm.34237. DOI: https://doi.org/10.1558/jwpm.v3i2.32607
[20] Li, Y. (2022). Digital heritage and participatory culture: User-generated content of Chinese opera on social media. Journal of Heritage Tourism, 17(4), 411–428. https://doi.org/10.1080/1743873X.2022.2061244.
Downloads
Published
Issue
Section
License
Copyright (c) 2026 Highlights in Art and Design

This work is licensed under a Creative Commons Attribution 4.0 International License.

