This study examines the reproduction of locality in Taiwan's yueqin (Moon Lute, a kind of Taiwan traditional instrument) culture and Hengchun folk songs amid globalization and cultural commodification, investigating how local musical traditions are reconstructed to satisfy dual demands of nostalgia and innovation, becoming sonic vehicles for national construction and identity formation. The "representativeness" of yueqin and Hengchun folk songs originated from musicologist Hsu Tsang-houei and Lü Bing-Chuan's 1960s "discovery" of folk artist Chen Da, though their divergent ideologies reflect complex struggles over political positions, cultural resource allocation, and academic power. This research investigates how the yueqin evolved from a local instrument into a symbolic emblem of national music and how colonial modernity and sound politics interacted in this process. It also examines the contributions and limitations of Hsu’s “reformation” approach that restructured traditional folk music through Western frameworks. Methodologically, this research combines in-depth interviews with yueqin musician Chen Ming-chang and others, analysis of historical recordings, archival research, and documentary investigation. By analyzing historical recordings of folk artists such as Chen Da and subsequent interpretations, it traces transformations in musical form, performance style, and cultural discourse, reconstructing the historical context, power relations, and mechanisms of locality reproduction in yueqin culture. Preliminary findings reveal that yueqin's transformation presents multiple dimensions of locality reproduction: retaining rural nostalgia and local specificity while being repositioned as part of popular music culture and national music. Hsu's interpretation of Chen Da parallels musicologist Xiao Youmei's approach to Chinese music, revealing internalized colonial modernity and power structures of sound politics. This study illuminates complex tensions among cultural preservation, locality reproduction, and national construction, reassessing musicologists' power positions and sound politics in the modernization and nationalization of traditional music, thereby providing critical perspectives for contemporary cultural policy, music transmission, and local cultural subjectivity.