This study explores the transnational transmission and stylistic evolution of the Lingnan school of Guqin through the case of Gao Yusheng, a Japanese-Chinese disciple of the late master Xie Daoxiu (1940–2019). As a pivotal inheritor of the lineage pioneered by Yang Xinlun, Xie Daoxiu played a central role in revitalizing the Lingnan tradition in mainland China. His acceptance of Gao Yusheng as his first disciple established a unique cultural bridge for Lingnan Guqin to Japan.

Focusing on Gao’s experience as a "diasporic guqin practitioner," this research examines how the Lingnan style is reinterpreted and transformed in a cross-cultural context. By comparing Xie’s and Gao’s interpretations of 1–3 representative Lingnan pieces (e.g., Bijian Liujuan), the analysis highlights nuances in tonal expression, tempo, rhythm, and ornamentation techniques (yin, nao, chuo, zhu). These micro-level comparisons reveal how Gao negotiates between fidelity to the Lingnan tradition and adaptations influenced by her Japanese environment.

The study demonstrates how individual practice in diaspora facilitates the localization of a regional music tradition. It contributes to discourses on cultural adaptation in East Asian music, offering a vivid case of "dispersed heritage" and the dynamic evolution of guqin art beyond its native context.