Introduction

With the advent of the digital age, the inheritance and promotion of traditional culture face new opportunities and challenges1,2,3. As a precious component of cultural tradition, musical Intangible Cultural Heritage (ICH) should seek new avenues of communication in the digital era4,5. In China, various traditional music forms or activities have been recognized as ICH by the UNESCO 2003 Convention, forming unique and distinctive resources. These resources include but are not limited to, Peking Opera, Sichuan Opera’s face-changing, and Erhu performances, each carrying profound cultural traditions and historical value. However, promoting and preserving these cultural heritages in the modern digital era faces new challenges and opportunities. Particularly on short video platforms like TikTok, there are notable differences in promotional effectiveness and audience engagement compared to traditional long video platforms like YouTube. By analyzing user behavior and preferences, the algorithms recommend relevant and interesting content, thus increasing opportunities for users to discover and explore musical cultural heritage. This personalized content recommendation not only enhances user experience but also provides a more effective way to promote musical cultural heritage6. The digital promotion of traditional culture on digital platforms, especially in conjunction with TikTok, a platform predominantly led by the younger generation, may inject new vitality into musical ICH, enabling it to better adapt to modern society7,8. Compared with traditional media and even long video platforms such as YouTube, TikTok’s algorithm, personalized recommendation mechanism and short video form provide unique advantages for the rapid spread of cultural content and user participation9,10,11.

Additionally, most research focuses on the potential impact of digital technology on the protection of ICH, while there is a lack of studies on how to effectively engage younger generations, enhance user participation, and increase the social impact of ICH through specific digital promotion strategies. The purpose of this study is to answer the following questions: As a platform, what is the communication effect of TikTok in promoting the ICH of music to young people? Explore and validate digital promotion methods that integrate the TikTok short video platform to increase the visibility of musical cultural heritage projects and assess the actual effects of digital promotion on the transmission of traditional culture. The goal is to gain a comprehensive understanding of the effectiveness of the digital promotion of musical cultural heritage through an in-depth analysis of user perceptions of digital platforms, evaluations of promotional methods, and the role of digital communication in learning about and engaging with musical cultural heritage. This work can provide robust support for academic research and practical applications in related fields and offer valuable insights for scholars and practitioners in the fields of digital communication and cultural heritage protection. The research method uses a questionnaire survey based on theoretical frameworks such as digital communication theory and demand fulfillment theory to analyze users’ interactive behavior and evaluation of content on the platform.

To present the discussion more systematically, this work is structured as follows. First, the first section is the introduction. It expounds on the research background and objectives, focusing on the opportunities and challenges of the communication of musical ICH on the TikTok platform in the digital era. The second section reviews the existing literature. It combs the research progress of digital communication and cultural inheritance, and clarifies the entry point and innovative space of this work. The third section introduces the research methods. Combined with the characteristics of the TikTok platform, it constructs a theoretical and methodological system, covering a variety of communication theories. Digital communication theory helps analyze the media characteristics and communication mechanisms of the TikTok platform. The use and gratification theory is used to understand users’ motivations and behaviors when using short-video platforms. Lasswell’s communication model provides an analytical framework for evaluating the structural elements and effects of digital communication strategies. The fourth section describes the experimental design, including the data collection process and the reliability and validity test of the questionnaire. The fifth section presents the survey results, analyzing user characteristics and the effect of digital promotion. The sixth section carries out discussions combined with empirical data. By comparing with existing studies, it deeply explores the advantages and limitations of short-video platforms in stimulating public participation and expanding the influence of cultural communication. Finally, the seventh section summarizes the research results, points out the practical significance and application value of the research, and proposes that future research can be further expanded in the directions of platform comparison and long-term communication mechanisms.

Literature review

The digital era has exerted a profound impact on cultural inheritance and promotion. Zhou (2022) analyzed the digital learning promotion of instrumental aesthetics courses on YouTube, demonstrating the potential of digital platforms to enhance learning effects in cultural heritage dissemination. However, the study focused on traditional long-video platforms and lacked exploration of short-video formats12. Permatasari et al. (2020) emphasized that ICH cognition relied on direct community contact, pointing out the risk of excessive cultural commercialization via electronic platforms. This revealed the need to balance protection and communication in digital promotion, but the influence of specific platform characteristics on this issue remained unaddressed13. Li et al. (2019) proposed a new paradigm for cultural inheritance in the digital age, focusing on macro-analysis of social media promotion effects. Although it provided a framework for understanding digital promotion, it insufficiently addressed the personalized algorithms and content forms of specific platforms like TikTok14. Yau et al. (2020) explored the key role of social media in cultural identity communication, emphasizing the function of information dissemination media. However, their research mostly stayed at the conceptual level, lacking empirical data to support the actual promotion of musical intangible heritage by platforms15.

In the context of the relationship between social media and cultural inheritance, Hou et al. (2022) indicated that digital heritage and information and communication technologies enhance public participation and promote ICH protection through the creation of multifunctional resources, demonstrating the positive driving force of technology for inheritance. However, further exploration is needed on how to integrate the interactive mechanisms of short-video platforms16. Ziku (2020) used a data-driven approach to analyze the relationship between linked data models and digital cultural heritage, expanding the theoretical perspective of digital cultural heritage research, but lacked attention to user experience and content communication effects17. Jing et al. (2021) constructed a semantic network for ICH based on the MediaWiki platform, realizing semantic retrieval of digital ICH and promoting the development of ICH digital applications. However, the combination of this technical application and social media communication had not formed a systematic study18. Wong et al. (2020) highlighted the importance of user participation by analyzing the impact of user-generated content on cultural inheritance. It highly aligned with this work’s perspective of focusing on user interaction on the TikTok platform and reflects the driving role of user participation in the promotion of digital cultural heritage. However, it insufficiently analyzed the specific mechanisms of short-video platforms19. Although the above studies provide rich perspectives on the role of digital technologies and social media in cultural heritage communication, most of them fail to deeply reveal the unique advantages and communication mechanisms of short-video platforms, especially TikTok, in the promotion of musical ICH.

The role of short-video platforms in the communication of ICH has attracted increasing attention. According to the media convergence theory, digital platforms break traditional communication boundaries, enabling multi-dimensional interaction between content and users, and driving profound changes in communication modes. Meanwhile, the participatory culture theory emphasizes user-generated content and active community engagement, providing a theoretical foundation for understanding cultural communication on short-video platforms. Existing studies generally acknowledge the potential of digital technologies in activating ICH, but discussions on the differences in platform characteristics and their communication effects remain insufficient.

First, in terms of platform content presentation, as a long - form video platform, YouTube allows users to obtain in - depth cultural content, such as documentaries or complete performances of ICH skills, usually through active searching. In contrast, Douyin (TikTok), with its algorithmic recommendation mechanism and “information flow waterfall” design, delivers cultural content to users in a fragmented and passive form. This difference directly affects the communication effect. On YouTube, opera videos focus on integrity and historical interpretation, so viewers stay for a long time, but the interaction rate is low. While on Douyin, through short-form video forms like the 15-second “face-changing challenge”, although the integrity of the cultural context is sacrificed, the participation of young users is significantly increased. This “efficiency-first” communication model reflects the advantages of short-video platforms, and at the same time, brings the risk of cultural symbols being “oversimplified”.

Second, differences in user behavior further shape the communication paths of ICH. According to Wang et al. (2024), platforms emphasizing visual aesthetics tend to form relatively closed cultural circles through static displays (such as traditional clothing photography) and tag-based aggregation of interest communities20. In contrast, Douyin enables users to transform from bystanders to co-creators of cultural content through “challenge” mechanisms and special effect tools (such as opera makeup filters), achieving what is known as “productive consumption”. This feature endows Douyin with a unique potential to stimulate secondary communication, but it may also lead to an entertainment-oriented tendency in cultural expression. For example, Liu (2024) pointed out that some ICH music was forcefully adapted to electronic dance music rhythms to cater to traffic algorithms, which in essence constituted a form of “mild cultural appropriation”21. Finally, in terms of content production models, YouTube focuses more on professionally generated content (PGC). Although its communication efficiency is lower, it leaves space for systematic interpretation of ICH (such as interviews with inheritors and craft documentaries). In summary, platform selection is not only related to technical adaptability but also reflects the choice of cultural values-a trade-off between communication breadth and cultural authenticity. This contradiction highlights the necessity of carrying out cross-platform comparative studies.

In summary, on the Douyin platform, users participate in the communication of ICH through imitation, adaptation, and re-creation, thus realizing a role shift from “viewers” to “co-creators”. This phenomenon can be regarded as a manifestation of “prosumption”, where users both consume and produce content. Jenkins & Jie (2024) pointed out that this “participatory culture” not only enhanced users’ cultural identity and communication enthusiasm but also promoted content diversity and viral dissemination22. However, as the algorithm-driven content ecosystem gradually dominates, users’ creative activities also showed a trend of being manipulated by platform logic. Cao et al. (2024) noted that this user participation-based content generation mechanism essentially constituted “digital labor” under platform control, where users unknowingly produced traffic and value for the platform without receiving corresponding compensation23. On the Douyin platform, while tools such as “challenge mechanisms” and “filter effects” have greatly stimulated users’ participation enthusiasm, such highly structured creative frameworks may also guide users to produce entertainment-oriented content that caters to platform algorithms, weakening the depth and seriousness of intangible culture. Wissmann (2024) pointed out that some intangible heritage music hadbeen compulsorily adapted into versions that conform to the rhythm of electronic dance music to cater to the platform’s traffic preferences, a trend regarded as a mild form of cultural appropriation24.

Although scholars have explored the impact of digital platforms on the communication of ICH from multiple perspectives, covering communication forms, user behavior, and platform mechanisms, there is still a lack of systematic collation and comparative research on the specific mechanisms and influence paths of short-video platforms in the communication of musical ICH. In particular, the following research gaps remain: (1) A lack of quantitative comparison between short-video platforms and traditional video platforms in terms of ICH content expression, user participation, and communication efficiency; (2) A lack of critical discussion on the relationship between platform algorithms and content entertainmentization; (3) A lack of in-depth theoretical construction on the dual role (promotion and alienation) of “user-generated content” in cultural inheritance; (4) Inadequate ethical reflection on the issues of digital labor and cultural appropriation in “platformized cultural communication”. Based on this, Table 1 systematically collates the main themes, representative achievements, and gaps to be filled in existing research, providing a theoretical basis and problem orientation for the entry point and research design of this study.

Table 1 Research gaps and the research work here.
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Building on existing research, this paper constructs a comparative analysis framework to focus on the unique advantages and practical challenges of short-video platforms in the communication of musical ICH. On the one hand, short-video platforms offer unprecedented opportunities for the digital promotion of ICH through their high interactivity, fast content dissemination efficiency, and personalized recommendation mechanisms. On the other hand, issues such as content homogenization, insufficient depth of user participation, and simplification of cultural expression have gradually emerged. To this end, this work starts from the characteristics of user behavior, compares the interaction patterns of different user groups and their impacts on ICH acceptance and diffusion. It further analyzes the role of user-generated content in cultural communication, and explores how to enhance communication effects through incentive mechanisms. Meanwhile, the work also compares different types of short-video content to explore the integration path between cultural content and platform characteristics to improve the performance of short videos in terms of attractiveness, educational value, and cultural depth. Through these analyses, this work aims to provide more targeted strategic recommendations for the communication practice of musical ICH in the context of short videos, and offer reference directions for follow-up research in related fields.

Research methodology

The role of digital technology in the integration of musical ICH with TikTok short videos

The specific forms of Chinese musical cultural heritage are diverse and rich, with profound historical backgrounds and unique cultural significance. For instance, Peking Opera is not just a theatrical form; it integrates singing, speaking, acting, and acrobatics, representing the pinnacle of Chinese opera. Sichuan Opera’s face-changing is renowned for its dramatic transformations and superb artistry, showcasing the rich cultural characteristics of the Sichuan region. Erhu’s performance, with its melodious tunes and deep emotional expression, is a significant representative of Chinese folk music. These cultural heritages face numerous challenges in their transmission and preservation in modern society, particularly in their transmission and acceptance among the younger generation, necessitating new promotion methods and inheritance strategies. Music ICH is divided into the following categories and detailed explanations of the characteristics, difficulty of dissemination, and applicable digital promotion strategies is provided for each category. The different types of music ICH are shown in Table 2.

Table 2 Different types of music ICH.
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In the survey, these different types of music ICH are classified based on users’ interests and cognition, and corresponding digital promotion strategies are developed for each type of music. For example, targeting the audience of traditional Chinese opera music, this work analyzes how to use TikTok’s special effects and challenge activities to attract young people; for folk music, it may focus more on using local characteristics and interactive content to attract local audiences.

This work re-exams the role of digital technology and decides to focus on the core features of the TikTok platform, such as user engagement, content sharing mechanisms, and the platform’s unique music and special effects tools, to more accurately reflect the research focus. Digital technology is a comprehensive means of transforming traditional culture, information, and resources into digital formats to facilitate storage, processing, transmission, and presentation25,26. Table 3 outlines the role of digital technology in the fields of cultural heritage preservation and promotion.

Table 3 The role of digital technology.
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TikTok’s recommendation system achieves personalized content recommendations through big data analysis and user behavior prediction. Therefore, cultural heritage promoters should have a deep understanding of the working principle of the system and use this mechanism to maximize the dissemination effect of content: promoters can analyze TikTok data, understand the interests of different user groups, create video content that better meets the needs of these groups, and improve the recommendation rate of content. TikTok’s algorithm prefers highly interactive content, so promoters should encourage viewers to interact with videos, such as through comments, sharing, and challenges, to further increase the exposure of videos on the platform. TikTok’s algorithm also determines its exposure based on the performance of its content. Therefore, cultural heritage promoters should regularly review performance data of their content and adjust their promotion strategies based on audience feedback to make the content more attractive and communicative.

Digital communication theory

When exploring the dissemination mechanism of musical intangible cultural heritage (ICH) on the Douyin platform, this study integrates the intersecting perspectives of Digital Communication Theory32, Uses and Gratifications Theory33, Lasswell’s Five Factors Communication Theory34, and the SOR Theory35. These theories do not exist in isolation. Instead, through the chain of “technology enabling - user needs - dissemination path - behavioral feedback”, they jointly construct a dynamic interpretive framework for the digital promotion of ICH. Specifically, the Digital Communication Theory focuses on the technical characteristics of the Douyin platform (such as the algorithm recommendation mechanism, short video format, and special effect tools), revealing how technology reconstructs the logic of the creation and distribution of ICH content. The Uses and Gratifications Theory, starting from user motivations, explains the behavioral drivers of the young group satisfying deep-seated needs such as cultural identity, entertainment and leisure, or social participation through consuming ICH short videos36. Together, these two theories answer the core questions of “how the platform empowers” and “why users participate”.

Lasswell’s five-factor model (communicator-content-channel-audience-effect) helps clarify the communication structure. Here, communicators are no longer just inheritors-ordinary users also become content creators. The communication channel has shifted from traditional media to algorithm-driven short-video streams. Effect evaluation not only considers data like likes and shares but also focuses on changes in cultural cognition. The SOR theory decomposes the communication process into “ICH content stimulation (e.g., Sichuan opera face-changing special effects)-audience cognitive and emotional responses-specific behaviors (such as participating in challenges or offline activities)”, revealing the internal mechanisms of user behavior. These theories complement each other, reflecting the complexity of Douyin’s ICH promotion: Algorithmic preferences enhance the visual appeal of content but limit space for niche ICH; high user interaction satisfies social needs and expands dissemination, yet may lead to superficial consumption of cultural content. Through the integration of multiple theories, this study deeply analyzes the contradictions and innovations in the communication of musical ICH in short-video environments-between “technical efficiency” and “cultural depth”, as well as between “mass participation” and “heritage protection”.

Heritage inheritors contribute through traditional methods, while the government facilitates dissemination by formulating policies and organizing related activities, collectively promoting the transmission of musical ICH. However, with the development of digital technology, the communication model shifts towards ‘everyone as communicators. The content of communication encompasses traditional images and recordings.The communication channels have expanded from traditional newspapers and television to internet platforms, including mobile phones and computers. Social media platforms such as TikTok short videos, Weibo, and the development of mobile apps provide broader and more immediate communication channels. Through digital technology, the dissemination of musical ICH becomes more flexible in terms of time, unrestricted by temporal constraints, allowing for digital transmission anytime, anywhere37.

Based on theses hypotheses, this work proposes the following research hypotheses, demonstrating the relationships between digital promotion strategies and user engagement, satisfaction, and the promotion effectiveness of musical ICH:

Hypothesis 1

The interactive features of the TikTok platform can enhance user engagement with music ICH content.

Hypothesis 2

Musical ICH content promoted through the TikTok platform can increase users’ cultural satisfaction and sense of identity.

Hypothesis 3

User participation on TikTok effectively promotes the dissemination and inheritance of musical ICH.

The digital promotion strategy for integrating musical ICH with TikTok short videos

Currently, common practices for promoting musical ICH on digital platforms mainly include the following aspects. First, diversifying content by showcasing various elements such as traditional performances, production processes, and historical backgrounds to present the rich connotations of musical ICH. Second, adopting storytelling methods to enhance the appeal of videos, helping audiences deeply understand cultural meanings through emotional resonance. Third, making full use of the interactive functions of social media to encourage users to participate in discussions, ask questions, and share, thereby improving participation and expanding the communication scope. In addition, leveraging platform features like special effects, music libraries, and regular updates to create attractive content and maintain user interest and attention.

However, challenges do exist in this process. First, there’s a risk of content homogenization driven by the pursuit of rapid dissemination, potentially leading to aesthetic fatigue among users. Moreover, despite large user bases, enhancing the quality of user engagement and interaction remains challenging. Furthermore, maintaining the authenticity and depth of cultural heritage while pursuing click rates and popularity is a delicate balance. Lastly, ensuring long-term sustainability is crucial, where promotion activities should not just be short-term trends but effectively contribute to the long-term inheritance and development of cultural heritage. Expert interviews provide valuable insights into addressing these challenges. Experts generally agree that content combining cultural education with entertainment elements tends to attract younger audiences better. Additionally, presenting cultural heritage through storytelling enhances user resonance and memorability. Successful cases demonstrate that innovative content formats, high user engagement and interaction, and incorporating the latest technology for presentations are critical factors in achieving effective promotion. For instance, activities such as using challenge tags, and online interactive concerts showcasing traditional instruments, have shown significant promotional effects. The digital promotion strategy for integrating musical ICH with the TikTok short video platform must comprehensively consider content creation, interactivity, and distribution channels38,39,40,41,42. Table 4 outlines the digital promotion strategies for combining musical ICH with TikTok short videos43,44,45,46.

Table 4 Digital promotion strategies for combining musical ICH with TikTok short videos.
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Experimental design

Datasets collection

This work designs a questionnaire on the TikTok platform to evaluate users’ cognition and interactive behavior towards music ICH content. In order to ensure the survey’s validity, the following sample selection process is implemented: questionnaires are distributed through TikTok’s built-in survey feature to ensure participants are active users of TikTok. In the screening of questionnaire questions, this work includes inquiries about whether participants are interested in music to ensure that the sample has a certain level of interest and understanding of musical ICH. ICH Experience History: it is based on the question “Q8: Have you previously participated in offline ICH activities (such as opera performances, and folk festivals)?“. It is found that only 28% of respondents report having offline ICH experiences, while 72% have only engaged with ICH through digital platforms. User Type Segmentation: According to “Q6: How familiar are you with musical ICH?“, the sample is divided into a high-familiarity group (“very familiar” + “somewhat familiar,” n = 126) and a low-familiarity group (“not very familiar” + “completely unfamiliar,” n = 82). The two groups’ evaluations of TikTok’s promotional strategies are then compared. Additionally, specific questions are specially designed in the questionnaire to assess participants’ interest in music ICH, including whether they have actively searched for or watched related music content, and their willingness to participate in music cultural activities. Table 5 lists the questionnaire items and their references. 234 questionnaires were distributed, and 208 valid responses were obtained after data compilation.

Table 5 Questionnaire items and their references.
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This work supplements the questionnaire survey with behavioral data analysis from the TikTok platform to verify the objectivity of self-reported data. By accessing TikTok’s open platform Application Programming Interface (API), such as the user interaction data interface, actual engagement metrics related to musical ICH videos were collected from 208 respondents over the past six months. These metrics include the number of likes, shares, comments, and completion rate. A correlation analysis is then conducted between these behavioral indicators and users’ self-reported engagement and interest levels from the survey.

Experimental environment

The survey is conducted within the TikTok short video platform, utilizing the platform’s built-in survey functionality. Choosing this environment helps ensure audience engagement, as users can conveniently participate in the survey while browsing TikTok content. Additionally, the TikTok platform offers a wide range of musical ICH content, providing diversity in stimuli for the survey.

Parameters setting

The survey content revolves around the impact of digital promotion on musical ICH. Specific aspects include participants’ awareness of musical ICH content on digital platforms, their evaluation of promotional methods, and the role of digital communication in learning and participating in musical ICH. The questionnaire design encompasses the assessment of the stimulating effects of digital platforms on users, the relationship between user needs and satisfaction, the consistency between disseminated content and user perception, and key elements of user participation and response.

Data analysis is conducted using SPSS 26.0. Multiple linear regression, independent sample t-tests, the Mann-Whitney U test, and Analysis of Variance (ANOVA) are employed to test the hypotheses. The significance level is set at α = 0.05, and effect sizes are reported using Cohen’s d or η².

Result

Overview of research results and questionnaire analysis

Figure 1 presents the results of the questionnaire’s reliability and validity measurements. It reveals that the reliability of questions regarding the awareness of musical ICH content on digital platforms, the evaluation of promotional methods, and the role of digital communication in learning and participating in musical ICH is relatively high. The overall reliability is 0.956, the validity is 0.96, and the p-value is less than 0.05. This indicates that the questionnaire is suitable for researching the digital promotion effectiveness of combining musical ICH with TikTok short videos.

Fig. 1
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The results of the questionnaire’s reliability and validity measurements.

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In terms of data analysis, descriptive statistical analysis is conducted on the questionnaire data to understand the participants’ basic characteristics and general responses to the questions. Figure 2 presents the demographic statistics of the respondents. It shows that there are 100 male participants and 108 female participants. Regarding age distribution, there is no significant difference in the male-to-female ratio, but due to the research focus on the digital promotion of “musical ICH,” the age group under 18 does not participate in the survey. This group is focused on academic pursuits, and their use of smartphones or the internet is limited, resulting in weaker value in the survey results concerning usage. In the age range of 19 to 30, the largest number of respondents is 92. In terms of education level, the highest proportions are among those with a high school education or below and vocational college education, accounting for 31.54% and 40.96%, respectively. In terms of occupation, the majority of respondents are employed in enterprises, constituting 52.69%. Overall, the surveyed population is predominantly concentrated in the young and middle-aged groups, with relatively fewer elderly participants.

Fig. 2
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The demographic statistics of the respondents ((a) gender; (b) age distribution; (c) educational background; (d) occupation).

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User evaluation of digital promotion channels

Figure 3 uses average ratings to demonstrate user evaluations across different digital promotion channels. Among various promotion strategies, users believe that regular updates of TikTok’s special effects and creative content are the most effective strategy. According to survey data, the scores for diversity in content creation and storytelling display are relatively high, at 3.95 and 3.97, respectively. This indicates that creative content and regular updates on TikTok can effectively attract users’ attention and continuously stimulate their interest. Most respondents believe that TikTok’s interactivity (such as commenting, liking, sharing, etc.) and platform’s special effects and sound effects can effectively attract user participation, making them more interested in music ICH content. According to survey data, TikTok’s interactivity score is 4.01, and its special effects and sound scores are 3.98, indicating its important role in increasing user engagement.

Fig. 3
figure 3

Analysis of the digital promotion channels for the integration of musical ICH with TikTok short videos.

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Awareness and dissemination effect of music ICH types

Figure 4 displays users’ awareness levels by calculating the percentage of familiarity with music heritage content. It illustrates the comprehensive impact of digital communication on the musical ICH on the TikTok short video platform. It is evident that survey participants have a broad understanding of music heritage content on digital platforms, with “very familiar” and “relatively familiar” being the predominant responses. In terms of promotional effectiveness, digital communication has achieved significant results in increasing attention, awareness, dissemination effectiveness, expanding the audience, and enhancing engagement. This indicates a positive overall impact of digital communication on the comprehensive promotion of musical ICH on the TikTok short video platform.

Fig. 4
figure 4

The comprehensive impact of digital communication on the musical ICH on the TikTok short video platform (a) the level of awareness of music heritage content on digital platforms; (b) the promotional effects of digital communication in the integration of music heritage with TikTok short videos.

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This work aims to make the research results clearer and more quantifiable, and to present more intuitively the dissemination effects of different types of music ICH on the TikTok platform. The user’s awareness of different types of music ICH is shown in Table 6. It can be seen that users have a high awareness of traditional opera music, especially Beijing opera and Sichuan opera, with a familiarity rate of 90%. In contrast, the awareness of religion and ritual music is relatively low, especially for some niche religious music, with only 52% of users stating that they are “very familiar” or “relatively familiar”. There are significant differences in the recognition of folk music and folk music among different regions, especially among local users, whose familiarity is relatively high. Modern music adaptations (such as works that combine traditional music elements with modern popular music) have a high level of attention among young people, demonstrating their strong potential for dissemination.

Table 6 User awareness of different types of music ICH.
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The evaluation results of users on the dissemination effect of different types of music ICH are shown in Table 7. The data shows that traditional opera music and folk music perform well in terms of dissemination effect, especially traditional opera music, with about 80% of users considering its dissemination effect to be “very good” or “average”. However, the dissemination effect of religious and ritual music is relatively poor, with over 50% of users believing that its dissemination effect is “poor” or “ineffective”, indicating that the promotion effect of such music on digital platforms is relatively limited. The dissemination effect of modern music adaptation is very good, especially among young users, more than half of whom believe that its dissemination effect is “very good”. This further confirms the high adaptability of modern adapted music on short video platforms.

Table 7 User evaluation results on the dissemination effect of different types of music ICH.
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Table 8 presents the Pearson correlation coefficient between users’ self-rated interest (on a 1–5 scale) from the survey and their actual interaction behavior (standardized interaction index). It shows a significant positive correlation (r = 0.72, p < 0.01), which validates the reliability of the self-reported data. Additionally, a comparison of questionnaire responses between the high-interaction group (interaction index ≥ 80%) and the low-interaction group (interaction index < 80%) reveals that the high-interaction group rates “platform effects” (4.3 vs. 3.1) and “content diversity” (4.1 vs. 3.4) significantly higher (t-test for independent samples, p < 0.05).

Table 8 Correlation analysis between users’ self-rated interest and actual interaction behavior.
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To verify TikTok’s uniqueness in the dissemination of musical ICH, a comparative experiment is conducted using YouTube as a control group. This study selects YouTube as the control group mainly based on the structural differences in content forms, user behaviors, and communication logics between YouTube and Douyin (TikTok). As a representative of long-video platforms, YouTube excels in search orientation and carrying deep content (such as intangible cultural heritage documentaries and interviews with inheritors). Its user age distribution is broader, and interactive behaviors mostly focus on text discussions in the comment section. In contrast, Douyin’s algorithm recommendation mechanism and short-video format are more suitable for the fragmented consumption habits of young users, and instant interactions (such as liking and imitating creation) are stimulated through special effect tools and challenges. This comparison does not simply deny the value of long videos. Instead, through the mirrored contrast of platform characteristics, it reveals the unique influence of the short-video ecosystem on the dissemination of intangible cultural heritage. For example, Douyin’s “high interaction rate” may stem from the algorithm’s preference for visually stimulating content, but it may also obscure the differences in users’ deep understanding of cultural connotations. In terms of analytical methods, this study uses the Mann-Whitney U test to verify the significant differences in interaction rates between the two platforms, and also uses the chi-square test to compare the degree of dispersion of user age distributions. It is worth noting that the concentration of opera-related content on Douyin is significantly higher than that on YouTube. This phenomenon can be partly attributed to the “cultural filter bubble” effect of algorithmic recommendation: the system tends to continuously push intangible cultural heritage tags with high traffic (such as #Peking Opera Face-changing), while long-tail content (such as religious ritual music) is gradually marginalized. This comparison not only quantifies the differences in communication efficiency between platforms but also implies the potential conflict between “visibility” and “diversity” in the promotion of intangible cultural heritage. When Douyin amplifies the exposure of certain forms of intangible cultural heritage through the logic of traffic, it may inadvertently construct a new cultural hierarchical order. Through content analysis, 100 music ICH-related videos (covering genres such as Peking Opera and folk music) are randomly selected from both TikTok and YouTube. Interaction data (likes, shares, comments) and user demographics (age, gender) are recorded over 30 days. Table 9 suggests that TikTok videos exhibit a significantly higher average interaction rate (12.3%) compared to YouTube (4.8%) (Mann-Whitney U test, U = 3280, p < 0.001). Additionally, the proportion of users aged 18–30 on TikTok reaches 78%, significantly higher than YouTube’s 52% (χ² = 25.6, p < 0.001). Furthermore, focus group interviews (n = 20) reveal that users generally find TikTok’s “challenge activities” (such as PekingOperaTransformationChallenge) and “special effects tools” more engaging. Moreover, YouTube is perceived as more suitable for in-depth content, such as historical explanations of ICH.

Table 9 Comparison of musical ICH content dissemination on TikTok and YouTube.
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Table 10 presents the differences in the evaluation of promotional strategies between different familiarity groups (Independent Sample t-Test). Table 10 shows that the high-familiarity group places more emphasis on “storytelling narrative” (4.5 vs. 3.1, p < 0.01), while the low-familiarity group prefers “special effects application” (4.2 vs. 3.8, p < 0.05).

Table 10 Differences in evaluation of promotional strategies by different familiarity groups (Independent sample t-Test).
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A multiple linear regression analysis is conducted with user engagement as the dependent variable and content diversity, effect appeal, and interactive features as independent variables. The results of the regression analysis for user engagement (Q5) are presented in Table 11. The analysis shows that effect appeal (β = 0.38, p < 0.001) and interactive features (β = 0.29, p = 0.002) have a significant positive impact on user engagement, while the effect of content diversity is not statistically significant (p = 0.097). The model’s overall explanatory power is strong (adjusted R² = 0.67), indicating that the audiovisual effects and interactive design of the TikTok platform are key drivers of user engagement.

Table 11 Multiple linear regression analysis results for user engagement.
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The dissemination effects of different types of music ICH are compared. Table 12 presents the results of the one-way ANOVA for the dissemination effectiveness of different types of music ICH. The analysis reveals a significant difference in the dissemination effects between traditional opera and modern adapted music (F = 12.4, p < 0.001, η² = 0.23), with a moderate effect size. However, the dissemination effects between religious ritual music and other types do not show significant differences (F = 1.2, p = 0.31). This suggests that modern adapted music, by incorporating popular elements, is better suited to the characteristics of short-video platforms, while religious ritual music requires targeted optimization of promotional strategies.

Table 12 One-way ANOVA results for dissemination effectiveness of different types of music ICH.
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Promotion strategies for different types of music ICH

Based on the above analysis results, this work proposes specific promotion strategies for different types of music ICH:

(1) Traditional opera music: Attention should be paid to utilizing TikTok’s visual effects and challenge features to attract young people to participate. For example, using traditional costumes, facial makeup, and singing styles of Peking Opera, design creative challenges to attract users to imitate and share.

(2) Folk music: It is recommended to enhance the participation of local users through local characteristic tags and interactive content. For example, a “challenge competition” with local cultural characteristics can be designed to encourage users to showcase their local music talents.

(3) Religion and ritual music: Due to their specific dissemination groups, it is recommended to combine them with relevant cultural activities and festivals, and promote them through the platform’s “cultural inheritance” theme.

(4) Folk and grassroots music: It should be promoted through the label of “original music”, emphasizing the uniqueness of grassroots creation and attracting users interested in non-mainstream culture.

(5) Modern music adaptation: Strengthen the integration with popular culture, innovate content forms, and enhance communication effects through cross-border cooperation and celebrity endorsements.

In traditional cultural heritage promotion, how to attract young audiences and maximize the dissemination effect has always been a challenge. However, with the help of social media platforms such as TikTok, promoters can effectively achieve digital dissemination of music ICH through the following strategies:

(1) Use platform effects and short video creative design to attract users: By using TikTok’s filters, effects, challenges, and other features, promoters can design creative content to attract young people. For example, use traditional opera music clips such as Peking Opera and Kunqu Opera, combined with TikTok’s dance challenges or special effects, to encourage users to participate and upload their own creations.

(2) Enhance the interactivity of content: Encourage users to participate and share their personal creative content by setting challenging and interesting tasks or topics (such as “30 Second Learning to Sing Peking Opera” or “Traditional Instrument Performance Challenge”), thereby utilizing user-generated content to create a wider dissemination effect.

(3) Cross-platform publicity and cooperation: Carry out cross-platform cooperation with other social media platforms (such as Weibo, WeChat, and Tiktok), use the user base of different platforms to carry out joint publicity, and improve the exposure of content. Meanwhile, by collaborating with renowned cultural bloggers or celebrities, the influence of music ICH can be further enhanced.

Discussion

Tension between interactivity and algorithm recommendation mechanism

The success of ICH communication on short-video platforms increasingly relies on the synergistic effect of interactive data and platform algorithms. Platforms typically prioritize recommending videos with high user likes, comments, and shares, thus driving a reinforcing cycle of “user feedback-algorithm recommendation-traffic focus”. While this mechanism enhances exposure, it also raises questions about the depth of ICH cultural expression. On the one hand, content creators may cater to platform preferences by producing more entertaining and emotional content to gain more recommendation opportunities, leading to the superficialization and popularization of ICH cultural symbols. On the other hand, Kang (2024) pointed out that the “fragmented communication” of short videos may result in flat presentation of cultural connotations. For example, audiences may focus on the visual effects of Peking Opera facial makeup while ignoring its historical background and character symbolism55.

Cultural significance and platform limitation of user participation

This work empirically analyzes the digital communication effects of integrating musical ICH with TikTok’s short-video platform through a questionnaire survey. It finds that digital communication plays a key role in the overall promotion of musical ICH, echoing Song’s (2023) research on using digital means to enhance the visibility of ICH in Ganzi Prefecture56. Meanwhile, survey data shows that over 80% of respondents are “very familiar” or “fairly familiar” with ICH musical content on TikTok, confirming the platform’s positive role in enhancing public awareness. However, users’ “active participation” does not equate to in-depth understanding of cultural connotations. “Light behaviors” such as comments, likes, and shares enhance the breadth of communication, but cultural depth is difficult to improve simultaneously. Nweke et al. (2024) pointed out that the “traffic-first” logic of short-video platforms may induce content creation into the trap of “cultural appropriation”, such as mixing religious ritual music with electronic dance music, leading to misinterpretation or commercialization of ICH cores57. Li et al. (2020) also criticized the “fast-consumption culture” of short videos, which may limit users’ attention to the sensory level and ignore systematic cultural expression58. In addition, although TikTok provides innovative communication paths, people must be alert to the platform’s tendency to homogenize content presentation forms. For example, this work compares the distribution of ICH content on TikTok and YouTube and finds that traditional opera content on TikTok is significantly more concentrated (45% vs. 28% on YouTube), confirming the existence of the “cultural filter bubble” mechanism59.

The double challenges of the restructuring of platform culture and non-genetic broadcasting

Digital platforms, centered on entertainment orientation and algorithmic decision-making, have essentially reconstructed the communication context of ICH. Terras et al. (2021) noted that while digital cultural products enhanced economic benefits, they were easily drawn into platform commercial logic60. Tzima et al. (2020) emphasized that new media expands the narrative forms of cultural communication61, but without norms, cultural expression could easily slide into “template-based” replication and “blockbuster” structures. For example, platform recommendation mechanisms favor high-interaction content, leading creators to adopt popular forms like clothing challenges and special effect dances, weakening the uniqueness of ICH. Although TikTok provides a breakthrough channel for endangered ethnic music and local cultures, under the dominance of platform grammar, such “display-oriented participation” easily evolves into “weak participation”-frequent user interaction without deep understanding. Čeněk et al. (2020) also argued that in a “short-attention” environment, users struggled to structurally absorb and remember cultural content62.

Theoretical contribution and research limitations

This work integrates digital communication theory, uses and gratifications theory, Lasswell’s “five-factor communication model”, and the Stimulus-Organism-Response (SOR) theory, verifying their applicability in the context of musical ICH communication through empirical methods. This fills the research gap in the dimension of user behavior. The findings also support Shahbaznezhad et al.‘s (2021) conclusion that social platforms enhance users’ cultural participation63, as well as Shankar et al.‘s (2022) emphasis on the positive impact of digital interaction on the communication value of cultural content64. Podara et al. (2021) specifically highlighted that user participation was the core of successful cultural communication65, which highly aligned with this work’s conclusion that TikTok’s interactive mechanisms influence ICH communication effects. Sultan et al.‘s (2021) findings on the promoting role of user-generated content (UGC) in cultural communication were further empirically supported66. Additionally, this work emphasizes the coordination mechanism between platform mechanisms and ICH protection goals, advocating for strengthened cultural governance design at the policy level. It suggests that platforms develop a “cultural depth labeling” mechanism or co-establish ICH content review channels with local cultural institutions to avoid risks of algorithms amplifying low-quality cultural content. These recommendations coincide with Pietroni and Ferdani’s (2021) proposed path for integrating digital technology and innovative cultural communication67 and respond to Erturk’s (2020) structural expectations for digital media in preserving ICH68.

In bridging theory and practice, this study not only validates the applicability of multiple digital communication theories in ICH promotion but also proposes actionable strategies, including diversified content design, narrative content creation, and enhanced interactive experiences. These recommendations offer clear guidelines for ICH communication practitioners and decision-making references for cultural policymakers-such as fostering platform-institution collaborations through policy support to expand digital platforms’ role in ICH protection. Despite breakthroughs in integrating empirical evidence and theory, this work has limitations: First, the sample focuses on TikTok, excluding other major short-video platforms like Kuaishou and Instagram. Second, evaluations of user cognitive depth rely heavily on self-reports, lacking long-term tracking analysis. Future research could incorporate qualitative interviews, eye-tracking, and other methods to explore the cognitive mechanisms underlying users’ evolving understanding of ICH content.

Conclusion

Research contribution

This work demonstrates that the Douyin (TikTok) short-video platform provides a brand-new path and technological possibilities for the digital communication of musical ICH through algorithmic recommendation, special effect tools, and user co-creation mechanisms. The platform has shown significant technical and mechanistic advantages in expanding audience coverage, stimulating user participation, and promoting rapid content diffusion. Survey data shows that the interaction rate of the youth group with ICH-related content is significantly higher than that of traditional long-video platforms. In terms of attracting attention and stimulating participation enthusiasm, the short-video form has demonstrated unique advantages, which verifies the potential of short videos in expanding the cultural reach and lowering the communication threshold. However, such a communication mechanism oriented by “efficiency priority” is also accompanied by structural limitations that deserve vigilance. First, the algorithmic recommendation mechanism may create a “cultural filter bubble”, making headline content (such as Peking Opera face-changing) over-exposed, while niche ICH content such as religious ritual music is further marginalized. Second, although the fragmented nature of short videos does lower the threshold for cultural exposure, users’ understanding of ICH mostly stays at the symbolic level. It is difficult to form a systematic cognition, which is in sharp contrast to the in-depth viewing and understanding supported by long-video platforms such as YouTube. Therefore, Douyin is more suitable for “cultural enlightenment” and “participation stimulation” in ICH promotion, rather than assuming the main function of “systematic inheritance”.

In response to the tension between the above-mentioned platform characteristics and limitations, future digital ICH practices need to seek a more stable balance between “traffic logic” and “cultural depth”. To this end, this work proposes the following targeted and actionable strategic recommendations: (1) Promote cross-platform collaboration mechanisms. For example, use Douyin to attract user traffic and stimulate interest, and then use platforms such as YouTube to undertake in-depth explanations and knowledge supplementation to achieve a communication closed loop of “drainage-immersion”. (2) Suggest that platforms develop algorithmic recommendation modules oriented to cultural values. Introduce cultural labels or a credible content evaluation system to enable ICH content with depth and innovative expression to gain priority exposure. (3) Encourage ICH content creators to strengthen content narrative and cultural structure expression. Avoid entertainment and hollowing out. (4) Promote in-depth cooperation between platforms, ICH inheritors, and cultural institutions. Develop a series of educational and participatory digital products to strengthen the continuous interactive relationship between users and ICH.

Future works and research limitations

This work has some limitations. It primarily focuses on the TikTok short video platform, and there is a lack of comprehensive comparison regarding digital promotion strategies and effects on other social media platforms, which warrants further research expansion. Additionally, a more in-depth exploration of the specific impact mechanisms of digital communication and the long-term sustainability of promotional effects is needed. Future research could delve into the differences and similarities among various social media platforms in the digital promotion of music heritage, providing a more diversified perspective on the digital communication of cultural heritage.