Taiwan's Instrument Manufacturing Industry: Taiwanese Hands in Global Soundscapes

30-Second Overview: Houli salvaged Taiwan's first saxophone from a fire; people in Guoling, Taoyuan sent Jupiter to American school bands; the Nanzi industrial zone once made "the hometown of guitars" resonate in over seventy countries; and the Wufeng music box still chimes within stores in Otaru and Seibu. This article discusses how much metal and wood from around the world passed through Taiwanese hands—leaving a memory of a sound supply chain, which is more significant than leaving behind heroes who fought.

Diagram of a saxophone body. Photo: Wikimedia Commons, CC BY-SA 4.0. Not an actual photo from a specific Houli brand.

The First Copper Welded from the Fire Site

The story begins with a blackened Japanese saxophone and a pair of hands skilled in mounting—more than two decades before the common narrative of "farmers starting a factory in the 1970s."

Chang Lien-chang, born on December 10, 1913, in Houli, Taichung, and who passed away on January 16, 1986 ¹, came from a farming family. At age thirteen, he studied calligraphy and mounting in Dajia, before learning the trumpet and forming light music bands with local musicians ². In some year after the war—local history and oral accounts place the fire in 1945 or 1947—the Japanese saxophone that had been bought at great expense for the band was burned. The brass was blackened, and the music was gone. Chang Lien-chang did not buy a new one. He disassembled the wreckage.

The narrative from Guanghua Magazine is specific: he spent about three months dismantling nearly four hundred parts, using copper strips as buttons and soldering with molten silver ². One account says that during the production process, a copper strip or plate bounced and injured his right eye. Another account claims he lost his right eye while repairing military band instruments—both narratives coexist, neither being definitively proven by medical records or contemporary newspapers; this article merely presents them side-by-side ³. Local history in Taiwan, along with the oral accounts of the third generation, Zhang Zongyao, places the "first one made in Taiwan" around 1948 when it was sold to a musician in the Philippines ⁴. Based on the fire year, Guanghua suggests the completion might have been around 1950 ². The factory plaque, Lien-chang Instruments, and the return to Houli are another set of years. The fire, the first completion, the first sale, and the establishment of the factory are four different events that cannot be merged into a mythical year.

The focus is on the physical scene: the sound industry started from salvage. A paper preparer used dismantling, drawing, and crude soldering to turn copper back into resonating pipes. Later, media and local tradition referred to him as the "Father of Taiwanese Saxophones," creating the "first one"—this article adopts this traditional title but does not present it as historical fact ².

The apprenticeship system quickly developed. When an apprentice made a mistake, the master would strike his head with a stick. Defective instruments were smashed in public; to the master, that instrument was merely a toy ². Copper was hammered by day and played while looking at sheet music with the master by night, making Houli a "musician's nest." The master Chang recalled that when Xilu Bridge was completed in 1953, Houli was the only place in Taiwan with a Western orchestra ². The bridge opening date is January 28, 1953; the claim of being the "only one in Taiwan" remains an oral account, which this article presents as the master's recollection ⁵.

The family continued the tradition. The eldest son, Chang Wen-tsan, took over the factory; the second son, Chang Wen-shu, founded Tai Guan in 1971. The third generation, Zhang Zongyao and Wang Cai-rui, pulled the LC brand out of a purely OEM narrative, establishing their own brand around 2000, opening a museum in 2002, and receiving evaluation from the Ministry of Economic Affairs' Creative Living Industries in 2009 ⁶. The four sisters—Chang Yu-tsu, Chang Man-yu, Chang Yu-feng, and Chang Jia-rong—are involved in performance, manufacturing, teaching, and overseas sales ⁷. Wang Cai-rui once said: "This house has been occupied by five generations, from my grandfather to my daughters" ². The creative living industry designation later became the dwelling and memory container for the fifth generation. But the origin scene remains the first copper next to the fire.

📝 Curator's Note
Writing the origin as "farmers starting a factory in the 1970s" flattens the sense of time for the entire industry: it seems like the Taiwanese instrument industry only appeared during peak export seasons. The salvage scene pushes the timeline back by more than two decades and restores the protagonist from a "contract manufacturer owner" to a specific person who dismantled parts, soldered, and whose right eye might have been injured as a result. All subsequent "invisible" aspects and scales are based on this piece of copper.

This salvage line later grew into an entire community in Houli—thirty factories, nighttime music, presidential gifts. But before that, the most contentious numbers must be laid out first.

About Three Per World? Laying Out the Numbers

"When speaking of Houli, Taichung, people usually think of 'horse farms,' but they don't know that there was a time when one in every three saxophones worldwide was Made in Taiwan, originating from Houli."² This opening line from Guanghua in 2005 almost became the mother sentence of the Houli myth. NPR also wrote in 2008: by the 1980s, according to government estimates, Taiwan was churning out so many that one in three globally came from Taiwan.⁸ This 1/3 claim was repeatedly cited by the media and is what readers often remember.

The problem is: the numbers don't match up.

Guanghua wrote of the peak in the 1970s: about 30 instrument factories in Houli, producing over 3,000 saxophones per year, with exports exceeding NT$700 million.² Taipei Times cited Houli manufacturers in 2005: out of 25 factories across Taiwan, 15 in Houli produced about 30,000 annually.⁹ NPR stated that the population of Houli was around 50,000, producing about 40,000 per year.⁸ A document from the Foundation for Asian-Pacific Cooperation also contained a snippet stating "over 10,000 produced in the 70s, now thousands."¹⁰ Yuanjian in 2006 wrote even higher: "about 70% of the world's supply came from Houli about 30 years ago," which is higher than 1/3, with unclear methodology; this article will not use it as a hero.¹¹

Source: Guanghua 2005, Taipei Times 2005, NPR 2008 (listed side-by-side; do not take the max)

Older writings claimed "100,000 per year, about 35% globally," but no independent Chinese or English academic source could be found for this; it is considered a hallucination or exaggeration and has been deleted in this article.¹² Cultural Taiwan also mentioned that "70% of all saxophones in Taiwan were produced in Houli," which refers to the proportion within Taiwan, not the global share.¹ The number of units, export value, the percentage of Taiwan globally, and the percentage of Houli within Taiwan are four different metrics.

Honestly listing these numbers preserves the tangible copper: what truly exists are communities, master-apprentice relationships, and the embodied memory of peak export seasons. A heroic phrase like "single precise global market share," however, cannot withstand verification. In early 2005, former U.S. President Colinndon visited Taiwan, and Chen Shui-bian presented saxophones at a banquet. Guanghua stated "Houli production," which the digital archive marked as LC.¹³ This was a celebration of local industry becoming a presidential gift; it can be written without forcing it into a pro-Taiwan/anti-China thesis.

The number of manufacturers also contracted over time. There were about 30 at its peak. After 2005–2006, there were still about 12–15 in Houli. A special feature by Mingzhi around 2018 mentioned 13 companies. TaiwanPlus in 2026 said only 4 saxophone factories remained, which is the latest and most dramatic, but the methodology was not disclosed (whether it only counts complete instrument assembly).¹⁴ It is acceptable to write "from about thirty companies to single digits today," prioritizing the coexistence of the three segments: 15/13/4.

Wang Cairui once said in Guanghua: "To be honest, everyone was either related or a master and apprentice. But amidst traders traveling around and low-price competition, even insiders became rivals."² Cai Chang-wen of Industrial Research Institute pointed out structural weaknesses: no self-branding, lack of standardized and formalized production processes, leading to a long position as an OEM for international brands.² Yuanjian also recorded that in the same tier of wind instruments, Jupiter often had a price advantage over Yamaha, yet customers ultimately took Yamaha—"the key was the brand's storytelling ability."¹⁵

After breaking down the numbers, the next question became clear: how did the invisible grow into daily life?

Schematic of saxophone families (Amati). Photo: Wikimedia Commons, CC BY-SA. Not a specific Houli brand.

MIT That No One in the School Band Told You About

The invisible first layer, at flag ceremonies and in American band rooms.

Gongxue followed a different path, separate from the Houli master-apprentice community. In 1930, Xie Jingzhong and his brothers established "Wanwu Stock Company" in Qishan, Kaohsiung, selling educational supplies such as musical instruments, stationery, and books. It was renamed Gongxue in 1945.¹⁶ The official interpretation breaks down "Gong" as contribution, "Xue" as school, and "She" as society.¹⁶ The origin of brass instrument manufacturing dates back to Luzhou in 1956–57: the Swallow harmonica and trumpets/trombones.¹⁷ The Jupiter brand was launched in 1980. An American sales company was established in 1985. Manufacturing moved to Guoling, Zhongli, in 1987.¹⁸ The percussion brand Mapex was introduced in 1989, and the official History states: a transition from OEM production for another brand to its own brand.¹⁹

Jupiter's production lines, from Luzhou to Guoling, are geographically unrelated to Houli. These represent two industrial rationalities on the same island: Houli is a horizontal cluster of small-to-medium handmade and OEM networks; Guoling is a vertically integrated, education-oriented brand factory. A 2005 vision document described a factory in Guoling, Zhongli, covering about one hundred thousand square meters, where six hundred employees assembled saxophones and trumpets bearing the Jupiter label for sale worldwide.¹⁵ The Chinese brand story also has an area of about seventy thousand square meters, which can be listed separately.²⁰ The company narrative states that in 2005, annual exports exceeded 120,000 units, and the sales network reached 46 countries. "One of the top three global brass instrument brands" is a description provided by the company and media; there is no third-party market share table to verify.²¹

The American school band market is where Jupiter truly permeated daily life. Starting in 1985, American channels targeted band instruments. Educational and retail discourse often places Jupiter alongside "reliable student brands" like Yamaha's student line or Conn-Selmer, which are durable, easy to repair, and integrated into the rental ecosystem.²² This article does not have reliable data on "Xth market share in American school bands" or "half of American students playing a Jupiter." What can be written is about the distribution and positioning. The consensus among musicians and educational retailers is that Jupiter's main battleground is the student/school market, distinct from the professional flagship level of Selmer Paris.²³

On the Taiwan side, Gongxue = retail chain + music center + teaching materials, coexisting with the manufacturing brand. In the early 1980s, school marching bands emerged, intersecting with the internationalization of the Jupiter brand. There is a discrepancy in the brand story and Wikipedia between 1981 and 1983 regarding the founding year of Jianzhong Music Flag, which we will not definitively state.²⁴ The alto saxophones first used by flag ceremonies, school anniversaries, and middle school band clubs were often Jupiter or descendants of Swallow; no one said "this is made in Taiwan" when playing them. The origin was invisible, but the sound was not.

Some might argue: since the brand belongs to someone else, or the brand isn't famous enough. The positioning itself is a story. The educational market delivers precision metal and woodwind assemblies into the moments of daily flag ceremonies. When American band directors choose instruments, they look at durability, ease of repair, and whether the distributor can supply parts—that is how the supply chain remembers and operates in daily life. In 2018, Guoling introduced a fully automatic new plating line,¹⁸ upgrading occurred at specific workstations; there was no need to empty-call Industry 4.0.

Mapex, meanwhile, pulled another invisible thread onto the screen: the official History states that Mars IU appeared in the movie Seven Seas in 2008.¹⁹ Popular culture accidentally put Taiwanese-made drums before audiences. Most viewers still do not read "Gongxue" at the end of the film.

After discussing everyday brands, there is a larger scale body memory in Nanzi, Kaohsiung.

The Four Million in Nanzi and the Year of Factory Closure

Invisible Second Layer: Peak Volume and Factory Shutdown Side-by-Side.

In 1971, Yamaha established a guitar factory in the Nanzi Export Processing Zone of Kaohsiung. The processing zone's brief mentioned commencing operations on April 12, 1971 ²⁵. China Times reviewed this in 2011: the Yamaha Kaohsiung plant once employed over 1,300 people and exported products to more than seventy countries until it ceased production in January 1996, having operated in Kaohsiung for over thirty-seven years ²⁶. A summary from the Kaohsiung Municipal Museum of History's "Little Stories of Kaohsiung" states that a total of over four million guitars were produced until the factory closed in January 2007, employing over 1,300 people ²⁷.

The "four million" must be contextualized. China Times wrote "annual capacity exceeding four million" or "manufacturing approximately four million annually" ²⁶. The museum wrote a total of over four million ²⁷. Guanghua in 2013 mentioned that during the peak period, the "Kaohsiung area produced 4 million units per year," which included Yamaha and Yage, representing the regional annual production narrative ²⁸. This article does not arbitrarily select a single hero number: media reports and local historical materials repeatedly mention four million—some referring to the peak annual output of the Kaohsiung region, others referring to the cumulative total of the Yamaha plant.

Chen Chi-chun, an interviewee for a Laobo Museum special exhibition, summarized Yamaha's quality control culture: "For Yamaha, a complaint about one guitar is a complaint about the whole world" ²⁹. Yamaha's own corporate literature also stated that while "Made in Taiwan" does not always carry a high-quality image, the Kaohsiung plant is one of the world-class guitar production facilities ³⁰. The English musician community often remembers the used market reputation of FG and Pacifica from Yamaha Taiwan/Kaohsiung in the 1990s. Framing the history of guitars solely as a "Taoyuan OEM Kingdom" would be geographically misplaced ³¹.

Besides Nanzi, Yage was located in Qiaotou, Kaohsiung: established before 1953 and moved to Qiaotou in 1970. With about three hundred employees at its peak, the company's guitars and electric guitars were repeatedly highly sought after for export until it moved to Zhangzhou, China, in the 1990s ³². Other northern and central plants, such as Guoqiao and Youcheng, were reported by China Times to have relocated to Shenzhen ²⁶. Fengji Guitar Factory was established in Huizhou, Guangdong, in October 1995; the old claim of "Taiwan's first guitar factory in 1965" lacks an independent source ³³. The Fengji family trade line dates back to the 1960s, representing a separate period from the 1995 Guangdong plant, and should not be conflated into one factory. We omit the claim of "over 2 million units produced nationwide" as it only appears in old literature ¹².

Source: Cultural Taichung, China Times, KHS Official, Muro Box/Taichung Tourism (streamlined nodes)

The relocation was driven by a confluence of factors—Taiwanese currency and labor cost pressures, brand structure, and the geography of the downstream supply chain—forming a wave starting in the 1990s: Yage and the northern and central plants moved first. Yamaha concluded operations in January 2007, with production shifting to Hangzhou, China, and Indonesia ²⁶. Some skills moved to Guangdong/Fujian/Vietnam factories, while others settled into small instrument making or Taiwanese-funded brands. Ayers is clear in its contemporary statement: a high-end guitar brand founded by Huang Zhenfa, whose factory is in Vietnam; OEM in Ho Chi Minh City in 1989, and independent brand since Binh Hoa in 1996 ³⁴. The official website states: "A guitar is an instrument with soul, and the hands of people are what give it that soul" ³⁴. What readers should take away is the concept of "Taiwanese brand + overseas manufacturing," as the Nanzi production line stopped in 2007.

In the year of closure, wood traveled through Kaohsiung. The invisible element continued in a different landscape, moving to Otaru, Hokkaido next.

Illustration of Guitar Workshop Craftsmanship (MIM Phoenix). Photo: via Wikimedia Commons, CC BY-SA 2.0. Not an actual Yamaha Nanzi factory photo.

Kaohsiung Popular Music Center and Tiger Valley Bridge (during the 2022 Taiwan Lantern Festival). Photo: Wikimedia Commons, CC BY-SA. A geographical anchor, not the Nanzi factory building.

The Fogong Music Box Behind the Otaru Scenery

Hidden Third Layer: Everyday Souvenirs.

Many of the movements in the music boxes at the Hokkaido Otaru Music Box Museum and shops were produced by Xieying (協櫻) in Wufeng, Taichung, under the Sankyo system in Japan, as verified through sources including Taichung Tourism, the Ministry of Economic Affairs Creative Living Industries, interviews with manufacturers, and Sankyo English Distributor FAQs.³⁵ The original FAQ stated: "Sankyo is in Japan, but many of the music box movements are manufactured by specialized partners in Taiwan."³⁶ When readers see scenery and hear tinkling sounds in Otaru, the labels often state a Japanese brand. However, the precision metalwork may have been completed in Wufeng.

Xieying Industries was established in 1979 (ROC Year 68). The old text from 1971 is incorrect. According to Huanglongxi's interview: the company was founded in April and construction began in August. Sankyo Seiki in Japan and Sanying (三櫻) in Taiwan jointly established the company, combining one character from each name to form "Xieying."³⁷ The old corporate law limited foreign equity stakes, with the Japanese side later withdrawing to about 14.9%. Sankyo Seiki was founded in 1946 and mass-produced music bells around 1948; it has been operating for nearly eighty years, not "over a century" as stated in old texts.³⁸

Peak figures must be scrutinized. Huanglongxi mentioned in reports related to Da'ai that Taiwan needed about thirty million units per year at the time, accounting for roughly one-third of global demand.³⁹ An interview compiled by Muro Box also stated that global annual demand was around ninety million units in ROC Year 70, with Taiwan's export demand being about thirty million.⁴⁰ This refers to assembly base demand. There is no record of "Xieying single factory capacity of thirty million." During the peak, Taiwan still imported and assembled movements for export; Xieying was only established in 1979. Statements like "40% manufactured in Taiwan" are slightly exaggerated compared to 1/3, so it can be used as a narrative by the industry.⁴⁰

Quality details are more tangible: Huanglongxi said that Sankyo's noise standard was below 60 decibels, but Xieying raised it to below 45 decibels before shipping. The speed error was also kept tighter than customer requirements.⁴⁰ When electronic music cards and toys were booming, the company once employed about five hundred people. In January 2002, a factory in Dongguan, China, was established; downstream relocation and tariff structures pulled the supply chain away, making the structure more complex than a "single villain" story.³⁷

Why did music bells fade from the spotlight? The Muro Box team explained the technology and economics clearly: the cost of a traditional custom-made cylinder was about NT$25,000, excluding royalties, but the finished product was only about 15 seconds long. The repertoire expansion could not keep up with dispersed popular tastes, and copyright risks made traders hesitant to develop new tunes arbitrarily.⁴⁰ A triple lock of shrinking demand, mold costs, and supply chain geography led to stagnation. The peak has passed, but precision metal memory remains.

In 2019, as Xieying celebrated about forty years, the Taiwan Modern Music Box Museum opened at No. 405 Fengzheng Road, Wufeng District, Taichung City.⁴¹ The old text mentioning "Sun Moon Lake Music Box Museum" is incorrect; there is no such museum, and it is geographically misplaced. Only souvenir music boxes and Puli woodworking DIY are around Sun Moon Lake; the industrial museum is in Wufeng.

There are two visible threads of contemporary succession. Wooderful life's wooden kinetic music boxes, which use Sankyo/Xieying supply chains, can be seen at Eslite and airport counters.⁴² Muro Box (Kukou Technology) uses machine-based smart music boxes programmed with an APP, collaborating with Xieying on the sound mechanism and assembly. In 2018, the Zecze N20 project aimed for 600,000 but raised about 2.05 million.⁴³ From a single tune costing NT$25,000 to interchangeable song repertoires, the industry has not experienced a "revival like the export boom of ROC Year 70," but the tinkling still comes from Wufeng.

Who is making them after the golden age faded?

Schematic of cylinder music box body. Photo: Auckland Museum via Wikimedia Commons, CC BY 4.0. Not a specific product from Xieying in Wufeng.

Mechanisms Still Being Replicated, Brands Still Playing

The peak has passed; the entrance remains.

Houli: The Zhang Lianchang Saxophone Museum/Tourist Factory is located on Gong'an Road, where you can try playing and see metal craftsmanship. TaiwanPlus 2026 reported that there were about 30 industry peaks, but today there are only about 4 saxophone factories, shifting toward high-end handmade products.¹⁴ Lin Mei-yun (Wanli Fu) once considered selling clothes in the market to support her family so her husband could focus on making high-end instruments; this strategy of a family transitioning is more concrete than slogans.¹⁴ The first Taichung County Instrument Festival was held at the Houli Racecourse in 2006, attracting over 60,000 visitors in four days, according to Yuanjian.¹¹ The Houli Saxophone Arts and Culture Carnival and the Taichung Instrument Festival are still held intermittently. It is impossible to give an exact ratio of "real factories vs. tourist facades" with public figures, but what can be said honestly is that single-digit factories are still hammering copper, while tourism and festivals have turned memories into visitable entrances; both coexist, and peak production capacity cannot return.

Guoling, Zhongli: Jupiter and Mapex remain Taiwanese brands in the educational and mid-to-high-end markets; many entry-level 500 series models are made in China, and most mid-to-high-end items are assembled/manufactured in Taiwan, with differentiated origins—do not write that "Jupiter is entirely made in Taiwan."⁴⁴ For student instruments: check the model series and distributor specifications, and ask the shops about the country of origin; Jupiter is often seen in school rentals, but this does not mean every instrument was welded in Guoling.

Wufeng: The Music Box Museum allows visitors to see tuning forks and mechanisms; the first round of DIY crafting turns supply chain memories into sounds on one's own fingers. Muro Box and Zhiyin Culture bring mechanisms back into daily gifts and technology products.

Taichung also has Guo Flute (GUO): Geoffrey F. Guo founded Guo Flute in 1988, renaming it GMIC in 1989, with an address on Liming Road in Taichung; this is a path of independent brand development through material and design innovation, moving from handmade silver/gold flutes to Grenaditte, colorful New Voice, and Tocco (reddot 2014 Honourable Mention).⁴⁵ Besides Houli, there are Taiwanese fine wind instruments like P. Mauriat in Taipeng, Taichung; Japanese Pearl's beads have been processed in the Tanzi industrial zone since 1973, with three types of industrial rationality coexisting on the island.⁴⁶

The entrances that can be acted upon are very short:

• When listening to school band brass: Jupiter/Gongxue are Taiwanese educational instrument brands; check the series for origin—not all are MIT.
• Visiting Houli: The Zhang Lianchang Museum and Tourist Factory (Gong'an Road, Taichung Houli); the Da Jin saxophone sculpture is a local landmark.
• Visiting Wufeng: The Taiwan Modern Music Box Museum (405 Fengzheng Road); the story of Petit Jean mechanisms can be found in the museum and cultural products.
• Searching for guitar stories: The Nanzi line has closed; contemporary Taiwanese brands like Ayers are mostly manufactured overseas, but there are still independent instrument makers and small factories in Taiwan; do not expect the scale of the 1980s.

Copper and wood are still in hand, and sounds can still be heard. A scene is gathered.

Conclusion: MIT in Sound

Imagine a misty afternoon at the Wufeng factory complex. A child places a music box mechanism on its base, and with a flick of a finger, the first ring sounds out; the comb is metal, but the scenery could be Otaru, while the hands are from here. Or perhaps in the Houli Museum, at a contemporary DIY workbench next to salvaged narratives: rings made from scrap copper, beside an old instrument on display. On Flag Day, the first note blown by the Jupiter school band echoes out; no one announces the origin, yet the music still crosses the parade ground.

In the sounds of the world, how much copper and wood have passed through Taiwanese hands? The answer lies in a piece of copper welded from near a fire, a series of production calibers that must be listed side-by-side, an unstated provenance within a school band, a guitar factory whose name remains in Kaohsiung local history even after closure, and the Wufeng music comb still turning behind the scenery of Otaru—more steady than any percentage of fighting ability. Peak production has passed; the memory of the supply chain that makes sound can still be visited, played, or turned.

The next time you hear a saxophone, a school band brass section, a music box winding up, or pick up a student instrument, have one thought: some part of this sound, or the entire instrument, might have rested in Houli, Wufeng, Nanzi, or Zhongli. Taiwan makes things that can be calculated, and it also makes things that can resonate.

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Further Reading

• Taiwanese SMEs and Hidden Champions — The dual track of apprenticeship communities and educational brands in the instrument industry is another voice in the hidden champion narrative.
• Taichung City — Houli saxophones, Wufeng music boxes, and Tansi percussion production lines: different industrial rationalities within the same city.
• Kaohsiung City — The geographic coordinates of the guitar kingdom in Nanzi Industrial Park and memories of factory closures.
• Taiwanese Traditional Music — The rise and fall of traditional music instrument factories and another line of instrument manufacturing after cross-strait opening (this article only touches upon it).
• Taiwan's Music Industry and the Streaming Era — An industrial structure comparison from the manufacturing end to the content and copyright end.

Image Sources

• Hero/Saxophone Body: Wikimedia Commons A Saxophone, CC BY-SA 4.0. Illustrative, not a specific Houli brand.
• Saxophone Family: Wikimedia Commons 4 Saxophone Amati, CC BY-SA. Illustrative.
• Guitar Workshop: MIM Phoenix via Wikimedia Commons Martin Guitar Workshop, CC BY-SA 2.0. Illustrative, not the Nanzi factory.
• Kaohsiung Popular Music Center: Wikimedia Commons Kaohsiung Music Center…, CC BY-SA. Geographic anchor.
• Cylinder Music Box: Auckland Museum via Wikimedia Commons Music box, CC BY 4.0. Illustrative, not a specific Gongxue product.

References