This study employs a combination of theoretical analysis and field research to explore the mechanisms of cultural identity construction reflected in contemporary Wuxi opera orchestration practices. The findings reveal that traditional instruments such as the erhu, pipa, and yangqin play an irreplaceable role in maintaining the aesthetic appeal of Jiangnan music; meanwhile, the moderate introduction of Western instruments (such as the cello, double bass, and clarinet) has expanded the expressive power and aesthetic possibilities of opera. Through score analysis and in-depth interviews, the study further highlights that orchestration is not merely a technical process but also a symbolic means of dramatic narrative, cultural transmission, and identity negotiation. Drawing on Shen Qia's "musical morphology" (2015), Nettl's "style description" (1964), Tarasti's "musical semiotics" (1994) and Rice's "cultural re-creation" model (1987), this paper constructs an interdisciplinary analytical framework to elucidate the cultural logic of how local opera achieves "preservation through innovation" in a modern context. The study concludes with practical recommendations, emphasizing the protection of the core status of traditional instruments, guiding the contextualized use of Western instruments, and strengthening collaboration mechanisms between composers and performers.
Yena et al. (Tue,) studied this question.
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