Zhu Zong-qing
30-second overview: Born in 1954, Zhu Zong-qing earned his percussion diploma from the Vienna Conservatory in 1982, founded Taiwan's first professional percussion ensemble in 1986, and established a comprehensive teaching system in 1991. Over 40 years, he brought percussion from the margins of the concert hall into the mainstream. He received the National Award for Arts in 2000 and is hailed as the "Father of Percussion in Taiwan."
In the summer of 1982, 28-year-old Zhu Zong-qong graduated from the Vienna Conservatory of Music, diploma in hand. At that time in Taiwan, "percussion" was still an unfamiliar term to most people, let alone the idea of a professional percussion ensemble. But Zhu Zong-qing had a clear vision: to build a complete percussion ecosystem in Taiwan and let this vibrant, rhythm-filled art form take root and flourish.
Forty years later, Taiwan has become an important hub for percussion development in Asia. From professional performances to early childhood music education, from concert halls to school campuses, percussion has become deeply woven into Taiwan's musical culture. The starting point of it all traces back to that young musician who decided to return home and build something from scratch.
Musical Awakening in Vienna
Zhu Zong-qing was born in 1954 and had a deep love for music from an early age. In the 1970s, he enrolled in the music department at the National Institute of the Arts (now the National Taiwan University of Arts), initially majorizing in piano. But after a chance encounter with percussion, he was immediately captivated by the richness of this family of instruments.
At the time, percussion was an extremely niche field in Taiwan. There were no professional instructors, no systematic teaching materials, and no opportunities for professional performance. But Zhu Zong-qing was profoundly struck by the diversity and expressive power of percussion—from the solemnity of the timpani, to the brightness of the xylophone, to the distinctive character of various ethnic percussion instruments, each with its own unique tonal color and expressive potential.
In 1979, Zhu Zong-qing decided to pursue advanced studies at the Vienna Conservatory. It was a bold move—he would face not only language barriers and cultural differences but also the challenge of finding his place within a completely unfamiliar musical tradition. But he knew that if he wanted to promote percussion in Taiwan, he first had to receive the most rigorous professional training.
During his three years of study in Vienna, Zhu Zong-qing not only mastered refined performance techniques but, more importantly, broadened his understanding of percussion as an art form. The European musical tradition showed him that percussion was far more than just "banging and hitting"—it was an art demanding a high level of skill and musicality.
1986: The Year One of Taiwanese Percussion
After returning from Vienna in 1982, Zhu Zong-qing did not rush to form an ensemble. He first accumulated experience in education, observed Taiwan's musical landscape, and thought about how to integrate the professional knowledge he had gained in Europe with Taiwan's cultural soil.
On January 2, 1986, the Ju Percussion Group was officially established—Taiwan's first professional percussion ensemble. At its founding, the group had only four members and limited performance venues, but Zhu Zong-qing had a clear mission: to change the public's stereotypical impressions of percussion through high-quality performances.
The ensemble's first formal concert was held at the Novel Hall in Taipei, with a carefully curated program spanning classical, modern, and world music. The performance received an enthusiastic response, with media outlets covering this "stunning percussion art." From that point on, the Ju Percussion Group began to make its mark in Taiwan's music scene.
In the early years after the ensemble's founding, Zhu Zong-qing devoted nearly all his time to performances and outreach. From formal concert halls to campus tours, from corporate events to community performances, the goal was to let more people experience the appeal of percussion. This grassroots promotion strategy quickly bore fruit, and percussion began to build a solid audience base in Taiwan.
The 1991 Teaching System: The Key to Laying the Foundation
In 1991, Zhu Zong-qing made an even more consequential decision: he established the Ju Percussion Music Education System. He understood that for percussion to truly take root in Taiwan, professional performances alone were not enough—the work had to begin with education.
The hallmark of this teaching system was its systematic and staged design. From music启蒙 (enlightenment) classes for two-year-olds to professional adult courses, every stage had a complete curriculum. Zhu Zong-qing placed particular emphasis on early childhood education, believing that "banging and hitting is an innate instinct in children," and that with proper guidance, children could develop an interest in music and a sense of rhythm.
Now over 30 years since its founding, the education system has established more than 60 teaching centers across Taiwan and trained over 200,000 students. While not all of these students became professional musicians, they all found joy and growth through musical learning. More importantly, they became loyal audiences for percussion, laying a deep social foundation for the development of percussion in Taiwan.
Cultural Diplomacy on the International Stage
The Ju Percussion Group has not only shone in Taiwan but has also actively expanded its international presence. Since the 1990s, the group has been invited to perform at major international music festivals, including the Asian Music Festival and the European Festival of Contemporary Music. The ensemble has performed in 35 countries and regions worldwide, accumulating over 3,000 performances.
In international performances, Zhu Zong-qing has placed particular emphasis on presenting elements of Taiwanese music. The ensemble frequently incorporates Taiwanese folk songs, Indigenous music, and even contemporary pop music into its programs, using the language of percussion to tell Taiwan's stories to the world. This style of cultural fusion has given the international music community a new understanding of Taiwanese music.
In 2008, the group was invited to perform at a cultural event preceding the opening ceremony of the Beijing Olympic Games—a significant appearance for a Taiwanese arts group at a major international event. Such opportunities not only raised the ensemble's profile but also served as an important vehicle for Taiwan's cultural diplomacy.
Promoting Culture During the National Theater & Concert Hall Era
In 2001, Zhu Zong-qing took over as director of the National Chiang Kai-shek Cultural Center (commonly known as the National Theater & Concert Hall, or "Two Halls"). In 2004, after its restructuring as an administrative corporation, he became its first artistic director. This position gave him the opportunity to advance the development of the performing arts in Taiwan from a higher vantage point.
During his tenure at the Two Halls, Zhu Zong-qing launched many innovative programs, including the "Summer Jazz Party" and the "New Ideas Experimental Series." He placed particular emphasis on cross-disciplinary collaboration, actively facilitating the integration of music, dance, theater, and other art forms, resulting in many stunning works.
He also vigorously promoted arts education, organizing parent-child concerts, guided listening sessions, arts camps, and more. In Zhu Zong-qing's philosophy, a theater should not be an ivory tower of elite culture but should serve as an important venue for arts education for all. This vision of "making art a part of life and life a part of art" has profoundly influenced the direction of Taiwan's performing arts community.
Recognition with the 2000 National Award for Arts
In 2000, Zhu Zong-qing received the fourth National Award for Arts in recognition of his outstanding contributions to the development of music culture in Taiwan. This award was not only an affirmation of his personal achievements but also a recognition of the development of percussion as a whole in Taiwan.
The award citation from the National Award for Arts review committee stated: "Zhu Zong-qing, through his professional ability and passion, has successfully established a complete percussion system in Taiwan, cultivating a large number of music talents and driving the improvement of the broader musical environment." This assessment accurately summarizes Zhu Zong-qing's contribution to Taiwanese culture.
In addition to the National Award for Arts, Zhu Zong-qing has received many other important honors, including the Ministry of Arts Creation Award and the Zhongshan Arts Award. But he often says that his greatest achievement is witnessing the transformation of percussion in Taiwan—from nothing to something, from niche to mainstream.
Innovative Cross-Disciplinary Collaborations
Another important contribution of Zhu Zong-qing has been promoting the fusion of percussion with other art forms. As early as 1986, when the ensemble was founded, it collaborated with the Cloud Gate Dance Theater on the classic dance work Legacy (薪傳), setting a benchmark for the integration of music and dance.
Since then, the group has collaborated with important arts organizations including Cloud Gate Dance Theatre, Lan Ling Theatre Workshop, and the Performance Workshop, producing many cross-disciplinary works. The 1989 collaboration with Lan Ling Theatre Workshop on Firefly (螢火) was a landmark moment in the history of Taiwanese theater.
Zhu Zong-qing has also actively collaborated with the pop music world, performing on stage with musicians such as Lo Ta-yu, Jonathan Lee, and Wu Bai. This practice of breaking down the boundaries between classical and popular music has introduced percussion to more young people and injected new vitality into traditional music.
Presidency at Taipei National University of the Arts
From 2006 to 2013, Zhu Zong-qing served as president of the Taipei National University of the Arts (TNUA). Over those seven years, he dedicated himself to elevating the quality of arts education and promoting international exchange, making TNUA an important center for arts education in Asia.
During his presidency, Zhu Zong-qing placed particular emphasis on cross-disciplinary integration. He promoted collaboration among different departments—music, dance, theater, fine arts—and encouraged students to engage with a diverse range of art forms. This holistic approach to arts education cultivated many innovative-minded arts practitioners.
He also actively pursued international partnerships, establishing exchange relationships with renowned arts institutions in Europe, the Americas, and Asia. Through his efforts, TNUA became not only the top choice for Taiwanese students pursuing advanced arts education but also attracted many international students.
Continued Innovation in Music Outreach
Even approaching seventy, Zhu Zong-qing continues to innovate in music promotion. In recent years, he has actively used digital technology to promote percussion, reaching more people through online courses, VR performances, and other formats.
During the 2020 pandemic, the Ju Percussion Group launched multiple online concerts, maintaining connections with audiences while exploring new possibilities for musical performance. This spirit of innovation and adaptability has been key to Zhu Zong-qing's sustained success over four decades.
Zhu Zong-qing also places great importance on nurturing the younger generation. The group regularly holds events such as "Percussion Summer Camps" and "Youth Percussion Ensembles," providing professional guidance to young people interested in pursuing percussion. Many of the percussion performers active in Taiwan's music scene today have received instruction from Zhu Zong-qing.
Four Decades of Cultural Impact
Looking back on Zhu Zong-qing's forty years of effort, his impact on Taiwanese culture has been comprehensive. First, he successfully transformed a niche art form into a widely recognized musical genre, broadening the musical horizons of the Taiwanese public. Second, the education system he built has trained hundreds of thousands of music learners, raising the overall musical literacy of society.
More importantly, Zhu Zong-qing proved that cultural arts can also be a viable social enterprise. His operational model combined artistic ideals with commercial sustainability, providing an important reference for other arts organizations in Taiwan. This pioneering practice of the "cultural and creative industries" has had a profound influence on the development of Taiwan's broader cultural industry.
Zhu Zong-qing often says: "Music has no borders, but musicians have a homeland." He hopes that through the power of music, the world can come to recognize Taiwan's cultural vitality. Over forty years, he has not only fulfilled this wish but has also cultivated countless music lovers in Taiwan, laying a deep foundation for the development of Taiwanese culture.
The story of the "Father of Percussion in Taiwan" tells us that cultural power requires long-term dedication and continuous innovation. Zhu Zong-qing spent forty years transforming one person's musical dream into a cultural asset for all of society—a persistence and vision worth emulating by all cultural practitioners.