Chinese musical history is often neglected in the study of Chinese history. In the seventeenth century, it is still unclear what the role of music was in the process of nation-building and cultural exchange. Prof. Yang Kuei-hsiang 楊桂香 sent her book on Nan Guan (Southern Pipe Opera) in Taiwan. It was a fine book in Japanese. I read it with great interest. I don't know how much the Nan Guan music shares with the Ming dynasty music brought to Japan by Yinyuan's disciple Wei Zhiyan.
The full title of her book is
台湾の南管 : 南管音楽における演劇性と音楽集団 /Taiwan no nankan : nankan ongaku ni okeru engekisei to ongaku shūdan.
著者： 楊桂香. ; ; Keikō Yō
出版： 白帝社, Tōkyō : Hakuteisha, 2004.
Table of Content:
1.0 Geography and History
1.1. Content of Nan Guan
1.2. Content of Musical Notations: analysis of "The Yang Pass Trilogy" 陽關三疊
1.3. Content of the Melody: analysis of "Sewing a Lone Bird" 繡成孤鸞
1.4. Content of the Finger Movements: analysis of "Le Rendez-Vous" 共君断约
2.0 Tradition and Taboo of Nan Guan Transmission
2.1 Social Function of Nan Guan
It is a rare edition. Outside Japan, only the library of University of London, School of Oriental and African Studies (SOAS) has a copy.
One of the Nan Guan music Prof. Yang studied is called "Le Rendez-Vous" 共君断约. The second video from Youtube listed below was performed by the Taiwan Nan Guan master Cai Xiaoyue 蔡小月.