Communal verification in group musical competition (douyue): peer evaluation, inter-society authority, and relational outcomes in the traditional Chinese music practice of Xi’an Guyue

This Hypothesis and Theory article examines group musical competition ( douyue 斗乐) in Xi’an Guyue 西安鼓乐, a tradition of Chinese instrumental ensemble music played by local music societies in and around Xi’an. In douyue , two or more societies perform for, and in response to, one another, either simultaneously from facing positions or in turn on a shared stage, while fellow musicians, elders, and local audiences listen, compare, and comment. The article asks how a society’s musical standing, recognized by its own members, comes to be acknowledged or questioned by other societies, and how this process may affect musicians’ relationships and wellbeing. To address this question, it introduces the concept of communal verification: a provisional, shared appraisal by a knowledgeable community of whether a specific claim made through performance, such as command of a multi-section suite, stylistic accuracy, or ensemble control, is convincing, open to question, or not yet settled. Such appraisals are more likely when performances can be compared, are assessed by what is heard against standards that participants recognize, and remain open to response and later revision. Communal verification differs from simply winning a contest or receiving a score. Under fair and respectful conditions, it may help performers feel heard and respected, whether their claim is recognized or questioned, and may support trust, belonging, and sustained participation; under humiliating or exclusionary conditions, it may instead lead to loss of face, anxiety, or withdrawal. Its outcomes may also shape how repertoire is later rehearsed and taught. The article contributes to music psychology and performance science by explaining how peer evaluation of musical expression, rather than musical participation alone, can link expression and communication to wellbeing, for better or for worse, and by outlining an evaluative ethic relevant to caring musical cultures in education and performance.