in Tibet proper. Direct references to native religion is still forbidden, but commonly understood metaphors are widespread. Pure Tibetan pop is heavily influenced by light Chinese rock, and includes best-sellers like Jampa Tsering and Yatong. Politically and socially aware songs are rare in this form of pop, but commonplace in a second type of Tibetan pop. Nangma karaoke bars appeared in 1998 and are common in Lhasa, in spite of threats from the Chinese government. Xinjiang Xinjiang Uyghur Autonomous Region is dominated by Uyghurs, a Turkic people related to other Turkic groups from Central Asia. The Uyghurs' best-known musical form is the On Ikki Muqam, a complex suite of twelve sections related to Uzbek and Tajik forms. These complex symphonies vary wildly between suites in the same muqam, and are built on a seven-note scale. Instruments typically include dap (a drum), dulcimers, fiddles and lutes; performers have some space for personal embellishments, especially in the percussion. The most important performer is Turdi Akhun, who recorded most of the muqams in the 1950s. Yunnan Yunnan is an ethnically diverse area in southwest China. Perhaps best known from the province is the lusheng, a type of mouth organ, used by the Miao people of Guizhou for pentatonic antiphonal courting songs. The Hani of Honghe Prefecture are known for a unique kind of choral, micro-tonal rice-transplanting songs. The Nakhi of Lijiang play a type of song and dance suite called baisha xiyue, which was supposedly brought by Kublai Khan in 1253. Nakhi Dongjing is a type of music related to southern Chinese forms, and is popular today. The Dai ethnic musical styles are similar to those of South Asia, Myanmar, and Thailand. Some typical Dai instruments are the hulusi and the elephant-foot drum. Modern changes In the early 20th century after the end of Imperial China, there were major changes to traditional Chinese music as part of the New Culture Movement. Much of what Westerners and even Chinese now consider to be music in the traditional Chinese style can be dated to this period and is in fact less than 100 years old. The modernization of Chinese music involved the adoption of some aspects of Western forms and values, such as the use of Western conservatory system of teaching, and changes to the instruments and their tuning, the composition, the orchestration of music, the notation system and performance style. Some forms of Chinese