Ethnic Musics Research Articles

Reform of Teaching Methods for High School Ethnic Music Courses

The reform of teaching methods for ethnic music courses in universities aims to emphasize the spirit of the Chinese nation, enhance the core literacy of contemporary university students, and strengthen their cultural heritage. With the development of the times, universities must recognize the urgent need to cultivate high-quality and sustainable development of professional talents in ethnic music. To achieve this, it is necessary to identify key points of cultivation and formulate corresponding measures to comprehensively reform the ethnic music courses in universities. Firstly, the reform will focus on strengthening the inheritance of traditional music culture. This includes teaching skills such as playing ethnic musical instruments, singing music works, and conducting in-depth interpretation and research on traditional repertoire. Secondly, the reform will cover the development of modern ethnic music. This includes introducing modern works, their creation, interpretation, and diverse forms of musical expression, to deepen students' understanding of the development trends of ethnic music. Thirdly, the reform will introduce interdisciplinary teaching methods, integrating ethnic music with subjects such as history, literature, and art to enhance students' overall understanding and cognition of ethnic culture. Fourthly, the reform will promote practical teaching activities, such as ethnic music performances and campus concerts, to cultivate students' performance abilities and spirit of teamwork. Finally, the reform will introduce comprehensive assessment methods, such as work creation, thesis writing, and music concert performances, to comprehensively evaluate students and enhance their overall literacy. These reform measures will contribute to the formation of a high-quality and sustainable development system for cultivating professional talents in ethnic music, providing important support for the comprehensive development and cultural heritage of contemporary university students.

From Grasslands to Global Beats: A Study of Mongolian Ethnic Music Integration in Chinese Pop

This study goes into the integration of Mongolian Ethnic Music into Chinese pop culture, exploring its historical roots, musical characteristics, and contemporary manifestations. Mongolian Ethnic Music, rooted in millennia of tradition and nomadic heritage, reflects the spiritual essence and cultural richness of the Mongolian people. Through an examination of ancient origins, influences of shamanism and Buddhism, and modern developments, the evolution of Mongolian music is traced, showcasing its diverse melodic, rhythmic, and tonal qualities. The classification of Mongolian music genres and styles, including the Hulunbuir, Xilingol, Ordos, and Alxa styles, highlights regional distinctions and stylistic variations. Furthermore, the study examines the integration of Mongolian Ethnic Music into Chinese pop through the works of renowned musicians such as Tengger, Han Lei, and Dege Ma, exemplifying a fusion of traditional melodies with modern sensibilities. Ulan Tuya, Qi Feng, and Yang Weiling represent contemporary artists contributing to the diversification of Chinese pop music with their unique styles. This exploration underscores the cultural significance of Mongolian Ethnic Music as a bridge between traditions, enriching the global music landscape while preserving the heritage of the Mongolian people.

Resonance of Tradition: A Comprehensive Exploration of the Historical and Cultural Dimensions of Mongolian Ethnic Music in China

This paper studies the historical evolution and cultural inheritance of Mongolian ethnic music within China, particularly focusing on the nomadic traditions entrenched in Inner Mongolia. Tracing its roots from ancient times to the contemporary era, the research illuminates the profound connection between the musical heritage of the Mongolian people and their nomadic lifestyle. Through a meticulous historical analysis and literature review, the study unfolds the intricate layers of Mongolian ethnic music, showcasing the significance of traditional instruments and vocal techniques. The paper explores the impact of imperial influences, socio-political changes, and the challenges faced in the past decades on the musical landscape. Furthermore, it highlights the contemporary expressions and global resonance of Mongolian ethnic music, emphasizing its role as a cultural ambassador. The research not only contributes to the nuanced understanding of this musical tradition but also adds valuable insights to the broader field of ethnomusicology, fostering cross-cultural dialogue and addressing the dynamics of cultural preservation in a global context.

Cultural Expression and Identity of Philippine Ethnic Music in the Era of Globalization

This research investigates the intricate interplay between cultural expression and identity of Philippine Ethnic Music in the era of globalization, with a specific focus on teachers and students at the Philippine Women's University. Through a qualitative research approach, a questionnaire utilizing a Likert-4 scale was distributed to 300 participants. The findings reveal diverse perceptions regarding the role of ethnic music, the impact of globalization on cultural identity, and the strengths and weaknesses of current pedagogical practices. Strategies for integration, encompassing both global and local perspectives, are proposed to enhance music education. The study also identifies challenges faced by educators and students, emphasizing opportunities for collaboration, innovation, and community involvement. The results contribute valuable insights into the multifaceted dimensions of Philippine Ethnic Music within a globalized context. Recommendations stemming from this study can inform educators, policymakers, and stakeholders, fostering a more comprehensive and culturally enriched approach to music education. This research serves as a significant resource for understanding and navigating the dynamic landscape of cultural expression and identity in the realm of Philippine Ethnic Music.

Reform of University Music Education under Ethnic Music Culture

Reform of University Music Education under Ethnic Music Culture

Innovative Reform Strategies of Artistic Practice of College Ethnic Music Education Based on Information Fusion Technology

Abstract To seek the path and method of innovation and reform of art practice of ethnic music education in colleges and universities. Based on information fusion technology, this paper introduces the Kalman filter algorithm for analysis and recognition of ethnic music education in colleges and universities and understands the application of information fusion technology in ethnic music education in colleges and universities through the correct recognition rate and recognition time of music signals. We also apply independent experiential and problem-based experiments to verify the feasibility of information fusion technology in innovative reform. The experimental results show that the Kalman filter algorithm based on information fusion technology has a 96.57% correct recognition rate for ethnic music signals, and the recognition time is faster than the support vector machine and BP neural network by 3.587s and 1.291s on average. 73.47% of the students, on average, think that the innovative reform of art practice based on information fusion technology in college ethnic music education is very effective, which is higher than the original The average percentage of students who thought the effect of the innovation reform of folk music education based on information integration technology was very good was 73.47%, which was 60.37 percentage points higher than the original research results. The average percentage of students who thought it was ineffective was only 9.19%, 52.31 percentage points lower than the original research results. The above results prove the feasibility of information fusion technology in reforming art practice innovation in university ethnomusicology education and provide a new direction for reforming art practice innovation in university ethnomusicology education.

Knowledge of the Historical Development of Chinese Xiansuo Folk Music in Quinghai Province's Hehuang District

The qualitative method was used in this study to examine the historical development of Xiansuo folk music in Hehuang district, Quinghai province, China. Based on the field investigation method, field study method, questionnaire survey method, and recording method Using humanities theory, sociology theory, and historical musicology theory, the study results are as follows: Including its creation process and classifying it according to topic materials Xiansuo folk music is a type of music performance that combines literature, singing, and musical instrument accompaniment. It is widely performed in Haidong City, Qinghai. Xiansuo is not only a unique art form in the Hehuang area, but it is also the result of cultural fusion. It is an aesthetic result of the collective will, thoughts, and emotions, as well as the individual characteristics and aesthetic taste of the Qinghai people, and it has significant scientific value. It is a significant part of the propagation and promotion of traditional music culture and the Qinghai national spirit, as well as a meaningful type of Xiansuo folk music that is distinct from other ethnic musics. Examining Xiansuo music and showing the distinctive creative worth of Xiansuo in contemporary art is critical for encouraging social diversity and conserving traditional folk art. The qualities, musical elements, dissemination, and music have all been explored and researched, and any gaps will need to be filled by future research.

Research on the Reform of Ethnic Music Education in the Context of Curriculum Civics

With the rapid development of China's economy, technology and other aspects in the context of curriculum thinking, society's demand for talents has also shown a diversified trend. In such a context, folk music, which is of great significance to the cultivation of students' overall comprehensive quality and innovative ability, has a unique local advantage over other disciplines. At the same time, however, folk music in the traditional sense exists only as an art form in people's minds, and there are still problems in folk music education, such as superficial teaching content, rigid educational models, lack of teachers and insufficient heritage, that need to be addressed. Based on the above background, this paper discusses how the three parties, namely universities, teachers and students, can improve their comprehensive quality through effective means and combine the spirit of innovation to better build and create the cause of folk music education. By combining the actual situation at home and abroad and based on the background of curriculum thinking and politics in the new era, this paper hopes to provide some reference for the current path of ethnic music education reform in China and to promote the comprehensive development of ethnic music in colleges and universities.

The Strategy of the Common Development of the Teaching of College Music and Ethnic Music Culture

The Strategy of the Common Development of the Teaching of College Music and Ethnic Music Culture

Classroom Teaching of Jiangnan Ethnic Music under the Cultural Vision

<p style="text-align: justify;"><span style="font-size:16px;font-family: 'Times New Roman','serif'">Jiangnan ethnic music culture has great potential and high application value. For college music education, it can actively draw nutrients from it and combine rich ethnic culture with music education. This article aims to study the classroom teaching of Jiangnan ethnic music from a cultural perspective. This article analyzes and studies the music aspects of different ethnic groups in China, and investigates and analyzes from a cultural perspective. The actual performance of the teaching in the classroom is investigated and experimental data are collected. Research data shows that the classroom teaching of Jiangnan folk music requires a certain cultural foundation as a background. Research data show that more than 80% of music teachers have a deeper understanding of Jiangnan ethnic music from a cultural perspective. Adding elements of Jiangnan ethnic music to classroom teaching can increase class efficiency by about 62%, and students ’concentration in listening can increase by 56 %about. From these, it can be seen that the classroom teaching of Jiangnan folk music has a promoting effect on the development of music classroom teaching from a cultural perspective.</span>

Party Policy Slogans and Middle School Ethnic Music Education in the Kim Jong Un Era

Party Policy Slogans and Middle School Ethnic Music Education in the Kim Jong Un Era

Ethnic Music Education in Korean Schools in China and Japan

Ethnic Music Education in Korean Schools in China and Japan

Grasping Intangible Heritage and Reimagining Inner Mongolia: Folk-Artist Albums and a New Logic for Musical Representation in China

This article considers the role of recorded music albums in mediating the position of the individual folk musician in Inner Mongolia, China, in the context of increased scholarly efforts throughout the past decade to collect dying oral traditions and catalog regional cultural diversity in Inner Mongolia. This discussion focuses on the scholarly impetus behind the CD series "Inner Mongolia Ethnic Music Classics—Great Masters Series," which seeks to transform the Intangible Cultural Heritage of oral repertoires into a tangible CD format that can be transmitted to future generations. Highlighting one album of collected recordings featuring the long-song singer Badma, I examine how Badma's designation as a cultural transmitter from Alasha, Inner Mongolia offers a case study of the changing politics of recognition in Inner Mongolia and China over the past decade and a half.

A Study of the Stylistic Foundations of the Ethnic Music of the Finno-Ugric Peoples by Means of Modern Information Technologies

The article actualizes the issue of research of the stylistic foundations of the Finno-Ugric ethnic musical systems. With the aid of present-day informational technologies the musical texture is researched in the aspect of segmentation: the pitch organization, specificity of timbre-intonation and the articulation are revealed. The author brings in the achievements of musical acoustics, and also makes use of computer technologies with the corresponding software, making it possible to carry out a detailed analysis of the temporal structure of any musical signal. A method of research is proposed for determining the types of musical thinking inherent to the peoples of the Finno-Ugric world (monophonic and/or polyphonic) and, in general, for characterization of the essence of the artistic universals of the Finno-Ugric culture. Elucidation is given of the first results received upon analysis of the heterophony of the monophonic nature. The material for the research was provided by recordings of folk singing made during expeditions, representing an original stratum of the singing and instrumental musical cultures of the Finno-Ugric peoples. The work is carried out within the framework of the scholarly project “Research of the Stylistic Foundations of the Music of the Finno-Ugric Peoples of Russia with the Aid of Present-Day Informational Technologies” (project of the Russian Humanitarian Scholarly Fund No. 16-14-10003). The creations of multigenre multimedia resources and, first of all, an electronic database of Finno-Ugric timbres will provide a subsequent stable development and popularization of the musical traditions of the Finno-Ugric peoples. Keywords: ethnomusicology, musical folklore, studies of Finno-Ugric music, acoustic analysis, pitch, timbre.

Verwendung, Verleugnung, Wiederentdeckung – Ligeti und ethnische Musiken

Regarding György Ligeti’s relation to ethnic music, his oeuvre can be divided into three periods. Until 1956 he used East European folk music in the manner of Hungarian composition of the 1940s and 1950s, but upon leaving Hungary he apparently rejected folkloristic inspiration. In his late period from 1978 on, however, ethnic musics became again central to his creative work, albeit in a basically different way than in his youth. This article provides an overview of Ligeti’s early folkloristic pieces and a brief characterization of his use of elements of Eastern European folklore in Le Grand Macabre, Hungarian Rock, Passacaglia ungherese and the Horn Trio. Finally, it traces back Ligeti’s “lamento melody,” that appears for the first time in the last movement of the Horn Trio, to certain types of the Hungarian folk lament. Ligeti’s references to folklore do not mean an idealization of his past, but are rather signs of an ambivalent attitude toward his own roots, in which nostalgic longing, ironic distancing, and desperate mourning are equally present.

云南音乐舞蹈图像视觉化的民族音乐形态和结构特征

云南音乐舞蹈图像视觉化的民族音乐形态和结构特征

Contemporary Practices of Extending Traditional Asian Instruments Using Technology

Ongoing development of audio and informational technology has had an impact on almost every aspect of the musical arts. Cultures and subcultures have cross-pollinated through the rapid exchange of information and have metamorphosed into new fields of technology-based art forms, one of which is the integration of technology in Asian ethnic musics. This article specifically focuses on the integration of technology with the traditional music of India, Indonesia, China, Japan and Korea. By reviewing the history of this metier, we explore the various applications of technology in traditional Asian music and its future.

Crafting Alternative Femininities on the Public Stage: Women Performers of Ethnic Music in Contemporary Istanbul

This article investigates the strategies women performers of ethnic music in contemporary Istanbul employ to escape the common associations of women of 'loose morals' and to craft alternative femininities on the public stage. How have women playing this music genre been able to do so while, at the same time, gaining and maintaining social respectability? Drawing on fieldwork in Istanbul, the article argues that ethnic music provides better opportunities for women to build their musical careers and to be perceived seriously for their artistic talents. Ethnic music's specific audience, locus of performance, repertoire, flexibility in dress codes and its performers' frequent associations with feminist organisations are all factors helping women to shape their own interpretation of what a woman musician in the twenty-first century could be.

Evaluation and Recommendation of Pulse and Tempo Annotation in Ethnic Music

Large digital archives of ethnic music require automatic tools to provide musical content descriptions. While various automatic approaches are available, they are to a wide extent developed for Western popular music. This paper aims to analyse how automated tempo estimation approaches perform in the context of Central-African music. To this end we collect human beat annotations for a set of musical fragments, and compare them with automatic beat tracking sequences. We first analyse the tempo estimations derived from annotations and beat tracking results. Then we examine an approach, based on mutual agreement between automatic and human annotations, to automate such analysis, which can serve to detect musical fragments with high tempo ambiguity.

California Polyphony: Ethnic Voices, Musical Crossroads. By Mina Yang. (Urbana: University of Illinois Press, 2008. xii, 184 pp. $40.00, ISBN 978-0-252-03243-1.)

There has been a flurry of historical scholarship on concert and popular music from California in recent years. For a long time, Ted Gioia's West Coast Jazz, 1945–1960 (1992) and Steven Loza's Barrio Rhythm (1993) were largely solitary pioneers, but in the last ten years we have seen important contributions on jazz, country, blues, rock ‘n’ roll, opera, and formal concert music from Clora Bryant, Gerald Haslam, David Reyes and Tom Waldman, Catherine Parsons Smith, and others. Taken together, it is hard not to conclude that the musical history of California rivals, if not eclipses, that of the East Coast for richness and breadth, especially when the lens is focused on specific times and contexts. Mina Yang's California Polyphony is the latest addition to that bonanza and the first, perhaps, to shine a light across the quilt of ethnic musics that have found a home in the Golden State. Yang's purpose is twofold: to challenge the Euro- and Atlantic-centric nature of much music criticism and to document the state's multicultural musical heritage without masking the “deeper divisions and inequalities” (pp. 2–3). Yang writes that her book “foregrounds the very quality missing in the more specialized studies about California music—the multifaceted relationship with a racially and ethnically diverse population” (p. 3).