Stroh Violin also holds a special place in the recording history of Taiwan during the Japanese occupation period. In the 1920s and 1930s, with the introduction of recording technology, Taiwan's folk music production gradually modernized. At that time, Stroh Violin was widely used in vinyl recording and became a common equipment in recording studios such as Dadaocheng. Especially in the popular Taiwanese folk and Taiwanese opera recordings at that time, the use of Stroh Violin played a crucial role, whether in conjunction with traditional music or popular songs.

This Stroh Violin (collection number E1339), as a precious collection of the Institute of Ethnology at Academia Sinica, witnesses the changes in Taiwanese folk music. This is not only a historically significant instrument, but also represents how Chinese people absorb and transform Western technology into local music in the face of the wave of modernization. It not only played an important role in the recording process, but also left a profound imprint on the Chinese music culture at that time.

Nowadays, this Stroh Violin has become a cultural symbol, representing an important stage in the development of modern craftsmanship in music. Its timbre features are in line with the melodies of early vinyl records produced by overseas Chinese, and the high pitched metallic tones are the historical echoes that this piano once produced in the recording studio. Although Stroh Violin gradually lost its market in the mid-20th century due to the development of electroacoustic recording technology, it has once again gained attention in the music industry for its unique timbre and visual effects in modern music. Musicians such as Tom Waits, Carla Kihlstedt, and Thomas Newman have all used the Stroh instrument in their performances and recordings. Newman used the Stroh piano extensively as accompaniment in the soundtrack of the movie Road to Perdition.