Chinese Music Education Research Articles

The Evolution of Piano Technique and Its Impact on Modern Chinese Piano Development: A Theoretical Exploration

This paper explores the development of the piano in modern China, focusing on its role in Chinese music education, performance, and composition. With the introduction of Western music and culture, the piano gradually became an integral part of Chinese musical culture. The study investigates the factors influencing the development of the modern Chinese piano, including social history, cultural environment, and the music education system. The research employs a literature review methodology to analyze the evolution and changes in theories of modern Chinese piano development, as well as the significant theoretical perspectives and academic ideas associated with them. The study examines the historical background, cultural environment, piano performance techniques, teaching methods, and the contributions of Chinese piano composers and musicians. The findings highlight the importance of studying modern Chinese piano development theory for piano education and performance. The research aims to deepen the understanding and application of relevant theories, fostering innovation and improvement in piano art. Furthermore, the exploration of piano development theories promotes the preservation and transmission of Chinese music culture, enhances academic research, and facilitates international exchange in the field of Chinese music. The study concludes that the continuous study of technical theory is crucial for the development of the piano in China. The improvement of current technical theory serves as a catalyst for advancing Chinese piano art and strengthens the preservation and transmission of Chinese musical cultural heritage. The findings provide theoretical guidance for piano teaching and performance practice, contributing to the continuous advancement of piano art in China.

The construction of a localized teaching model of the Orff music teaching method based on big data analysis

Abstract In the era of the big information wave and rapid development of economic globalization, the traditional music teaching mode in China has failed to completely develop the times. Here focuses on constructing a localized teaching mode of the Orff music teaching method in the case of cloud information analysis, firstly, understanding the definition of cloud information, using the MOOC platform design and offline traditional Orff music teaching method to build the localized teaching mode. The system is designed with SSH structure as the framework and BP-related calculation methods, with basic theory as the key point adopted by related calculation method, implementation process adopted for break-in effect inspiring rules for evaluating the actual use, analyzing the accuracy and stability of the three algorithms through experiments of three cases, and the final from experimental analysis accuracy of BP neural network algorithm is between 77% and 86%, which is higher than the accuracy and stability of the other two algorithms. Furthermore, stability is high, thus building a set of localized and innovative teaching models suitable for Chinese music education, which is conducive to improving students’ aesthetic and artistic level and bringing Chinese music to the world stage.

An artificial intelligence-based classifier for musical emotion expression in media education.

Music can serve as a potent tool for conveying emotions and regulating learners' moods, while the systematic application of emotional assessment can help to improve teaching efficiency. However, existing music emotion analysis methods based on Artificial Intelligence (AI) rely primarily on pre-marked content, such as lyrics and fail to adequately account for music signals' perception, transmission, and recognition. To address this limitation, this study first employs sound-level segmentation, data frame processing, and threshold determination to enable intelligent segmentation and recognition of notes. Next, based on the extracted audio features, a Radial Basis Function (RBF) model is utilized to construct a music emotion classifier. Finally, correlation feedback was used to label the classification results further and train the classifier. The study compares the music emotion classification method commonly used in Chinese music education with the Hevner emotion model. It identifies four emotion categories: Quiet, Happy, Sad, and Excited, to classify performers' emotions. The testing results demonstrate that audio feature recognition time is a mere 0.004 min, with an accuracy rate of over 95%. Furthermore, classifying performers' emotions based on audio features is consistent with conventional human cognition.

How does the music that students listen to affect their level of musical literacy? Comparative analysis of Chinese students’ musical literacy formed with modern online technologies in the context of music and non-music academic majors

ABSTRACT The aim of this paper is to determine both the influence of musical compositions’ genres on the students’ musical literacy formed using artificial intelligence technologies and the musical literacy skills among music and non-music major students. Accordingly, the method of analysis was used to identify the most common musical genres in the Chinese music education system. The genres prevailed in the following order: folk music, Western classical music, Chinese opera music, Qi genre, vocal chamber music, and pop music. Identifying genres of music was necessary to examine the impact of each on the development literacy skills in music. The development of music teaching approaches was based on the use of online technology. The technology contributed to the improvement of melodic skills with SwiftScales; articulation skills with Learn Singing; and expressive performance with Singscope. The research findings suggested that students of music majors were more likely to recognize the genres of musical composition (24%) after training, whereas students pursuing non-music majors developed linguistic abilities (27%). The study also revealed that minimal musical knowledge among music students contributes to the improvement of literacy skills in music ( k = 0.82). Non-music students primarily develop memory ( k = 0.84), with improved musical literacy skills as a result of knowledge accumulation.

Music education undergraduates’ construction of music teacher role-identity

The purpose of this study was to explore Chinese music education undergraduates’ music teacher role-identities. Data were collected through focus groups and individual interviews. A qualitative content analysis, using McCall and Simmons theory of role-identity as the theoretical framework, revealed that each of the 25 students’ imaginative view of self as a music teacher was an ongoing process of negotiation during their undergraduate education. Students were consistently negotiating the content of their own music teacher role-identities through balancing their needs for rewards from others and their own self-support. Students described the conventional character of a teacher as being respectful, responsible, and fair and the role of a teacher as acting professionally in music and teaching through cognitive role-taking and improvisation, as well as expressive enactment and negotiations. Students were active agents in constructing their role-identities, bringing their own idiosyncratic interpretations to music teacher positions. McCall and Simmons’ prominence and salience hierarchies helped understand how students valued their music teacher role-identity, compared to their other role-identities. Implications and suggestions for music teacher education policy and practices in China and in other countries are discussed to facilitate undergraduates in constructing music teacher role-identities.

The Development History of Chinese Music Education in The National Vocal Music Teaching

In elementary school vocal music teaching, in order to be able to cultivate students good artistic sense and ability, master more rich vocal singing skills and emotional expression, into the traditional culture characteristics, development in inheritance, join the primary color, in order to fully express the traditional culture connotation at the same time, to meet the needs of times development, seek a broader space for development.

Effects of Multiculturalism: Piano teaching in Chinese Universities

Driven by today's international trend of multicultural education, the change from a single to a diversified music education curriculum in Chinese universities has become one of the most urgent issues to be improved and solved in Chinese music education. This paper analyzes the history of multicultural music education and its development status in Chinese college piano teaching. Finally, it puts forward new research suggestions to improve the quality of piano teaching in colleges and universities and promote the development of multicultural music education in China's colleges and universities.

Implications of Ancient and Modern Musical Development for Chinese Music Education

Implications of Ancient and Modern Musical Development for Chinese Music Education

Research on the Teaching Quality Management of “Xindi Applied Piano Pedagogy”

Xindi Applied Piano Pedagogy (XAPP) is one of the key achievements of Chinese music education reform in recent years, reflecting the booming of piano education in China. Twenty years after its establishment, the pedagogy has been widely accepted by society. Based on the PDCA (plan-do-check-act) cycle, the paper studies XAPP in relation to teaching quality management, hoping to achieve quality teaching results by improving teaching models and quality. In order to investigate the XAPP teaching process, a closed-loop management on XAPP’s teaching quality is formed, and the questions are divided into different modules: teaching team building, curriculum design, course in effect, teaching materials selection, teacher assessment and rectification, customer satisfaction survey, as well as teaching evaluation and feedback. The application of the PDCA cycle in XAPP’s teaching quality management is then analyzed, with an aim to optimize applied piano teaching management and improve XAPP’s teaching system, curriculum design, teaching materials, and theoretical framework. This paper also studies XAPP from a management perspective, which not only promotes the development of music education, but also expands the research field of music education management.

Teacher-Student Interactive Creation Strategies in Music Teaching Assisted by Computer Information Technology

In music learning, the mobilization of students’ learning subjectivity needs the correct guidance of music teachers. Under the correct guidance of music teachers, students can exert their subjective initiative to realize the role of the main body of learning. In music classes, high-quality contact between teachers and students is required to meet the goals of teacher supervision and student subjectivity. This paper presents a music education approach based on a computer-assisted system and the realities of music education in China’s elementary and secondary schools. This strategy can specifically solve the problems existing in the interaction between teachers and students in Chinese music education. Furthermore, based on the actual effect of this system in music teaching for various age groups, a strategy for implementing high-quality teacher-student interaction in music teaching is proposed. The effectiveness of the system is also analyzed. This work studies the interactive creation strategy of teachers and students in music education through the computer information technology-assisted system.

Innovative Practice of Music Education in the Universities in the Context of 5G Network.

Music education is among the most significant subjects covered in providing high-quality education in Chinese universities and colleges. Music education is critical to providing high-quality education to students. It contributes significantly to the development of students' creative motivation, inventive capacity, and personality development. Music education provides excellent outcomes in music instruction and fosters students' original thinking and comprehensive abilities, and therefore supports the overall development of high-quality education. With the development of the educational system, it is becoming more vital to teach students a high level of musical literacy. With the advent of 5G mobile communication, it will become one of the core technologies in Chinese music education, providing an innovative framework for music education. In this study, a novel music education model is proposed for the development of music education using the GTZAN dataset which is comprised of 100 distinct specimens for every genre and ten various kinds of music. The dataset is normalized to prepare it for further processing and the characteristics of the song are retrieved using a technique called spectrum-based feature extraction (SBF). Bi-recurrent neural networks (Bi-RNN). are used to classify objects in space. An improved TCP congestion control algorithm (ITCCA) is proposed for efficient data transmission between the 5G networks. To optimize the performance of the transmission protocol, the honey bee optimization algorithm is employed. The performance of the proposed model is examined and contrasted with that of the currently used approaches. The proposed model shows high performance in terms of throughput, average delay, and packet delivery ratio. The model has the potential to successfully integrate 5G technologies and music education and provide the students with rich and diversified teaching materials and flexible instructional formats.

A systematic literature review of Chinese music education studies during 2007 to 2019

Based on findings from a large meta-data-based literature survey, this article is intended to provide a comprehensive synthesis of key features of China’s music education system as seen through the lens of n = 116 major research studies, drawn from a total of N = 3,257 high-impact Chinese journal articles published during 2007 to 2019. The synthesis suggests that (1) education reform, aesthetic education, Chinese traditional music and cultural identity were found to be the most prominent topics across all levels of formal music education; and (2) in most studies, government financial support, policy priorities, curriculum enforcement and paedagogical innovation are proposed as general cures to address perceptions of an unsatisfactory situation within music education. However, (3) by relating these findings to national statistics, a clear gap is identified between several research studies and actual social contexts, suggesting a possible deviation of academic communities from realistic educational and social challenges. Thus, external validity issues related to these studies are also discussed critically, along with their potential influence on views of what counts as Chinese music education in domestic and international research communities.

Cultivate Virtue by Art and Cultivate People by Beauty—Comments on Chinese Ancient Music Education Compiled by Hai Lin

Chinese Ancient Music Education, compiled by Xiu Hailin, is a general history of art education with nine chapters. Based on the historical data of archaeology, this book not only provides the content of the history of art education for the study of the history of Chinese education, but also summarizes and reveals the experience and rules of the development of music education and serves the aesthetic education practice of contemporary Chinese music education.

Organization of music education in the Pre-Qin period: a theoretical aspect

Introduction. In the modern educational space of each state, music education plays an essential role in the upbringing of the rising generation. The national musical culture of Ancient China, as well as some aspects of musical education organization in the Pre-Qin period, have served as the primary basis in the sphere of modernization and improvement of the modern musical education system in this country. The aim of this article is to summarize some theoretical aspects of the organization of music education in ancient China – in the Pre-Qin period (8500–221 BC). Materials and methods. The generalized materials of researchers' works reveal the practice of “early” musical education in Ancient China, expressing the interests of this or that ruling dynasty (from the primitive society, where the Chinese national musical culture had originated, up to the Qin dynasty). Representing an important historical epoch, the Pre-Qin period reflects the time of the formation of a unique system of organization of traditional music education in China. Each era that is part of the Pre-Qin period has its own distinctive features and cultural and historical characteristics. Results. In the course of summarizing certain theoretical aspects of the organization of music education in the Pre-Qin period, the names of four epochs were specified, as well as the peculiarities of the organization of general and music education in ancient China. Thus, the first era “Chinese music education in primitive society” (or) “Prehistoric China” (8500–2070 BC) is conventionally considered a time of origin of music education; a period of formation of genres of Chinese folk music culture, based on myths, religion, legends, and customs of ancient China. The second era, “Chinese Music Education in the Xia and Shang Dynasties” or “Bronze Age” (2070–1046 BC), is characterized by the appearance of the first musical instruments; the transformation of the functions of music education – from religious service to entertainment; the consolidation of the name “court music and dance education”; the appearance of the first specialized educational institutions and “special” music teachers. Music education in the third era “Chinese music education in the Western Zhou Dynasty” (1046–771 BC) had the name “rites and music education”; distinguished by the appearance of the first musical performance groups; the training of “professional personnel” in music education. The peculiarity of the fourth epoch “Chinese music education in the Spring and Autumn Era and the Age of Fighting Kingdoms” (770–221 BC) is the modernization and improvement of forms, methods, and means of music education; production of musical instruments; wide practice of performing schools and educational activities of Chinese thinkers, politicians, and educators; and availability of music education to various strata of the population. Conclusion. This study allows arguing that the Pre-Qin period is the initial stage in the formation of music education in ancient China. Moreover, it also can be considered one of the most important times in a historical retrospective – the active development of the Chinese music education system.

The Practice of Music Education Reform in Modern China

As an important part of the development of human culture, music education has an impact on the progress of social civilization and has an irreplaceable effect on the entire human history. In the practice of modern music education reform, there is a certain degree of difference between Chinese traditional music and Western music creation. In order to cater to the changes of the social era, Chinese music education also follows the changes. The purpose of this article to study the reform of modern music education is to analyze the modern situation of the country through music and understand the history of the country. This article mainly uses data method, comparative method and survey method to carry out relevant research on the development of modern Chinese music education. According to the survey in this article, students' music class hours average about 1.5 hours per week. This data also meets the basic requirements for modern music teaching.

The Influence of Orff’s Music Teaching Method in Germany on Chinese Music Education

This paper expounds the concrete connotation of Orff’s music teaching method in Germany, and illustrates its characteristics of creativity and comprehensiveness. Then it analyzes the present situation of music education in China, and concludes that there are some problems, such as ignoring practice teaching, lack of creativity and singleness of education mode.

Роль международных музыкальных конкурсов в развитии китайского пианизма

The study aims to identify capabilities and limitations of international contests for development of national distinctness of the piano performance culture in China. Scientific novelty of the study lies in raising the issue of the dichotomy “Western (international) / national (traditional)” as a specific feature of the heterogeneous piano schools from the perspective of music contests. This approach allows the researcher to outline areas of development of the Chinese pianism and arrive at the results that consist in the following ideas: international contests cannot be directly used for purposes of enriching “cultural cause” and promoting “cultural industry”; contests should remain a platform for interaction with the international music community and serve as quality indicators for the Chinese music education; successes on the international scene can be used indirectly, that is to promote the Chinese composers’ music performed by the renowned Chinese pianists; specificity of competitions as a multi-faceted and complex phenomenon should be taken into account for development of the Chinese music education and musical life as a whole.

East meets West: Investigating the state of DJing culture and turntablism pedagogy in China

In the West, the music practice of turntablism continues to gain traction and awareness both inside and outside of the music classroom, as DJing becomes more prevalent in mainstream music culture. This qualitative study investigates the extent and type of turntablism pedagogy in China, a country with different cultural and political values where traditional Chinese music remains the centre of Chinese music education. Twelve DJs from cities across China took part in a series of in-depth interviews. They were asked to recall their experiences learning how to DJ in China, as well as their opinions of turntablism’s inclusion in music education. Findings showed that participants preferred independent learning methods. In particular, participants significantly depended on Chinese social media applications to learn about turntablism and develop a national DJing culture. An absence of turntablism and popular music pedagogy in Chinese music education was the main reason for participants’ self-discovery and learning of turntablism. Findings also revealed a cultural disconnect between the younger generation engrossed in DJing versus the older generation’s fixation on traditional Chinese music to uphold nationalism and patriotism in society. This study examines an ongoing struggle regarding the extent to which popular music performance practices can be accommodated to work with the political aims of Chinese music education.

Cultural industries and ethnocultural specificity of Chinese music education

Cultural industries and ethnocultural specificity of Chinese music education

Introducing China's traditional music genres to the world

The purpose of the article is to study the presentation of traditional Chinese music genres in the world. The methodology of the study is to use historical and biographical methods in the study of this topic. The scientific novelty of the article is to explore the expediency of presenting traditional Chinese music genres in the world. After all, this question reflects both the traditions and customs of the country and raises the names of scholars of Chinese culture. The presentation of Chinese art is due to the holding of opera festivals that influence the culture of the whole country. The emergence of new theatrical acts and performances also influenced China's outlook. Conclusions. The introduction of traditional Chinese music genres in the world is due to the development of culture and education in the country. The system of thinking of Chinese culture is based on the ancient philosophy of the country. Musical art is in constant search: the nature of sound, timbre palette, forms, combining national motives. Through the combination of national traits, country philosophy, religious tendencies, elements of vocal and instrumental folklore, theater and composition, and piano culture, China's musical piano culture has become well-known in the world. It was the Suetan School and Yuege's educational system that formed the basis for the development of Chinese musical culture. Speaking about the nature of Chinese music, it should be emphasized that it has its intonation-melodic nature, which is different from European music samples. Chinese people became acquainted with the performance of European works through touring. In the early ’70s began to reform the conservatories into musical institutes. For example, music institutions such as the conservatories in Wuhan (Hubei), Shenyang (Liaoning), Xi'an (Shaanxi), and Chengdu (Sichuan) have undergone these changes. During this period (the ’70s), the flowering of Chinese music education began, orchestras, amateur bands appeared, research aroused curiosity, and music magazines began to be published. Teachers such as Zhou Xiaoyan, Lan Yushu, Yu Yixuan, Shen Xiang, Xi Ggui, Wen Quecheng, Li Zhishui, Wei Chixian, Man Jiangxi, Sung Xin, Hu Yan, Gao Zhilan, Do Shinji, and others start their creative activity. The revitalization of music education is in the twentieth century, which causes the development and rethinking of new turns in educational processes. The processes of formation and development of the Chinese music education system are reflected in the works of Wang Yuhe, Liu Pei, Yang Bohua, stylistic features of musical art were interested in F. Arzamanov, V. Vakulishin, Lin Hai, Liu Da-jung, Ma Gesun, Sun Tsunin, In Gen- Ira, Chang Ling, Yang Xiao Xu and more. Chinese education has interested such scholars as: Ding Yun, Yang Bohua. It should be said that much attention was paid to education, as evidenced by the work of scientists. Turning to the historical facts, it becomes known that music education began to develop during the Tang era (VII-X centuries). This led to the emergence of performing schools and the establishment of educational institutions, which allowed to expand the representation of traditional genres of the world.