National Music Research Articles

Current Situation and Thinking of Contemporary National Music Teaching

National music, as an important carrier for inheriting and promoting the excellent culture of the Chinese nation, has distinct, unique and profound national characteristics and aesthetic education value. National music teaching demonstrates the value concept of educating people with beauty and people-oriented, which is the concentrated embodiment of the core value of art courses. Based on the analysis of the current situation of national music teaching in my country, this paper proposes to focus on the cultural literacy of music teachers, improve the construction of national music teaching materials, and enhance the status of music education in school education, etc., to optimize the countermeasures of national music teaching in the new era, and provide a practical path for the widespread dissemination and popularization of national music in school education in my country.

Nationalism in Pyotr Ilyich Tchaikovsky's Music

Tchaikovsky is one of the most famous Russian musicians. His music creation strives to express the people's inner world. The piano suite the “Four Seasons”, based on the seasonal changes in Russia throughout the year, reflects Russia's natural scenery, customs, festivals and daily life, and has a strong Russian national style. Starting from Tchaikovsky's historical background, this paper analyzes the nationalist characteristics of the Four Seasons.

The influence of classical Chinese philosophy on the national music of China in the 1980s

The influence of classical Chinese philosophy on the national music of China in the 1980s

A Conversation with Michael Maliakel

Abstract: In a video interview with Journal of Singing Associate Editor Melissa Treinkman on March 29, 2024, Michael Maliakel discussed his career and his experience playing the title role in the Broadway show Aladdin . A first place winner of the 2014 NATS National Musical Theatre Competition, Michael talked about the impact of his classical voice training on his Broadway career, the constantly ascending tessitura of musical theatre roles, and why he believes representation matters. A QR code is included at the end of the article which contains the link to the recorded interview with Michael Maliakel, posted on the NATS YouTube channel.

VIOLA CLASS AT THE TCHAIKOVSKY NATIONAL MUSIC ACADEMY OF UKRAINE: SCIENTIFIC VECTOR OF DEVELOPMENT

To write the article, the author studied numerous dissertation researches devoted to various issues of viola performance, carried out by teachers and students of the department of the bowed string instruments at the P. I. Tchaikovsky National Music Academy of Ukraine. It was found that, despite the colossal potential of timbre and expressive possibilities, the viola for a long time remained in the shadow of its closest relatives from the string-bowed family - primarily in the aspect of solo performance. The path of the viola to recognition as an equal solo instrument is described, which began during Romanticism in the second half of the 19th century, gained rapid momentum in the first half of the 20th century, and, in fact, continues today. It is emphasized that the introduction of viola issues into scientific and musical circulation is one of the means of cultural propaganda of the instrument, along with its performance presentation. The presence of scientific potential among viola players is indicated, because in the period from 1971 to the present day, 9 candidate theses were defended in Ukraine, devoted to various problematic issues of viola performance, of which 5 were carried out by teachers and students of the viola class of the P. I. Tchaikovsky National Music Academy of Ukraine. The author provides information on the biographies of viola musicologists and characterizes each dissertation research. The relevance and progressiveness of the research topic, which is often ahead of its time, is noted. The importance of the further continuation of scientific research in the field of viola performance is emphasized. It has been proven that the department of bowed string instruments of the P.I. Tchaikovsky National Academy of Music of Ukraine today is not only a quantitative, but also a qualitative leader in the field of viola performance research.

Voicing with Code in Public

Voice Your Celebration was a public computing installation at Canada’s National Music Center, which offered a re-staging of computer code as a heterotopic form of participatory theatre. In the same way that the stage and the script can stand in between the audience on one hand, and actors and creators of a play on the other, in performances involving live digital art, pre-written code can also separate the coder and creators from the interacting audience. In this paper, we illustrate how Voice Your Celebration sought to address this divide by creating opportunities for the audience to become participants in the code itself by incorporating their voices and stories as integral parts of a widely used computational algorithm (Reynolds’s algorithm) for simulating flocking behaviour.

Music Education in China and the Philippines: The Exploration of Tradition and Integration

As two countries with characteristics, China and the Philippines both carry rich cultural heritage and historical background, especially in the field of music education have formed a unique tradition. In China, as an ancient civilization with a long history, its music education is deeply influenced by traditional culture. The inherited classical music, national Musical Instruments and music education concepts all highlight the extensive and profound Chinese culture. In the Philippines, as a country with diverse cultures, its music education integrates a variety of foreign cultures and local characteristics, showing a diversified, inclusive and innovative educational style. With the wave of building a community with a shared future for mankind sweeping the world, and culture as the spiritual embodiment of a community with a shared future for mankind, China and the Philippines have also begun to break regional boundaries and conduct frequent exchanges and cooperation. In the aspect of music education, this exchange and integration is not only reflected in the mutual reference of music education concepts, but also includes the sharing and innovation of teaching methods and teaching materials, as well as the exchange of visits and exchanges between teachers and students. In this process, the music education of the two countries is constantly absorbing each other's advantages and making up for their own shortcomings, so as to explore a music education model more in line with the development needs of The Times. This paper traces the origin of music education in the two countries from a historical perspective, deeply analyzes the uniqueness of their respective education systems, and compares the similarities and differences of teaching methods in detail. At the same time, this paper also focuses on the integration phenomenon of Sino-Philippine music education in the background of globalization, which is not only the exchange of technology and methods, but also the deep collision and integration at the cultural level.

Attributes of Specialized Households’ Resilience and Its Impact on Rural Industrial Advancement: A Case Study of National Musical Instrument Production Specialized Households in Lankao County, Henan, China

Attributes of Specialized Households’ Resilience and Its Impact on Rural Industrial Advancement: A Case Study of National Musical Instrument Production Specialized Households in Lankao County, Henan, China

Early Modern Polonaises and the Myth of Polish Rhythms

Scholars have long viewed the history of Polish dances through the lens of “Polish rhythms.” These rhythms are thought to characterize dances known as Polish from the sixteenth-century lute pieces of Hans Neusidler to the piano music of Frédéric Chopin. The notion of Polish rhythms continues to shape our modern reception of eighteenth- and nineteenth-century music: certain patterns are often used as a litmus test for whether a piece is evoking a Polish dance, even in the absence of an identifying label. I demonstrate, however, that there is little historical evidence that specific rhythms rendered dances Polish in the eyes and ears of composers, performers, or listeners from the sixteenth through eighteenth centuries. Instead, the Polish rhythms narrative appears to have stemmed from a misreading of early modern music-theoretical sources on the part of late nineteenth- and early twentieth-century writers, whose arguments were influenced by—and fed into—contemporary ideas of musical nationalism and essentialism. Focusing on eighteenth-century German sources, I also challenge any monolithic notions of Polishness in dance music by revealing how terms such as polonaise could denote multiple distinct dances (or could even refer to non-dance pieces). More broadly, these findings complicate the present-day practice of using abstract notational elements to identify unmarked dance topics, and I show how a greater attentiveness to factors beyond the score is vital for understanding how historical subjects experienced the popular dances of their time.

The Attention to National Music in the Republic of Uzbekistan

In this article, the reforms in the field of culture, art, and music in the Republic of Uzbekistan, the importance of prestigious festivals, various pageants and concerts in the further promotion and study of our national and classical music culture through the article. detailed information is provided.

An Anthropological Analysis of He Peng's Works and Transmission in Bayin Zuochang National Music Art Education

Background and Aims: He Peng, is a prominent figure in the Bayin Zuochang National Music Art tradition as both an educator and performer. Drawing from anthropology and musicology, the study aims to explore an anthropological analysis of He Peng's works and transmission in Bayin Zuochang National Music Art Education. Materials and Methods: The study focuses on rural areas of Guizhou province, China, specifically in villages inhabited by the Buyi ethnic group, which is a hub of traditional Chinese ethnic cultures with a strong tradition of Bayin Zuochang. The research employs an interdisciplinary approach, combining insights from anthropology and musicology to analyze He Peng's educational practices. Data collection involves in-depth documentary analysis; the research tools used were structured interviews and observation forms with He Peng and six key informants. Results: He Peng employs a systematic approach to transmit Bayin Zuochang, emphasizing structured pedagogy and hands-on learning. His teaching methods align with established music education theories, emphasizing the importance of structured pedagogy. Moreover, He Peng's dedication to preserving Bayin Zuochang bridges the gap between rural communities and their cultural heritage, contributing to the safeguarding of intangible cultural heritage. Conclusion: Peng's teaching methods, consistent with music education theories, reinforce the efficacy of his approach to traditional music education. Furthermore, his dedication to cultural preservation aligns with global imperatives for safeguarding intangible cultural heritage, underscoring the significance of individuals in cultural sustainability.

Historically Informed Performance as a Phenomenon of Artistic Culture of Ukraine: Creative and Educational Activities of the Orchestra of the Baroque Chapel at the Lviv Mykola Lysenko National Music Academy

The promotion of Historically Informed Performance (HIP) is an important aspect in the preservation and reproduction of the musical heritage of previous eras. One of the examples of successful creative and educational activities in the field of performance of ancient music and popularization of HIP can be the orchestra of the baroque chapel of the Lviv National Academy of Music named after M. V. Lysenko. Considering the history of creation, peculiarities of the team's development, and concert programs of the orchestra of the Baroque Chapel of the LNMA named after MV Lysenko, we can say that it was the participation in the concerts of the Festival of Early Music in Lviv that gave the orchestra the opportunity to gain artistic experience. The festival, with its high level of concerts and master classes, became a kind of creative laboratory that contributed to the professional growth of the orchestra.

Research on the Inheritance and Development of National Music Culture

This paper studies the inheritance and development of national music culture. As a unique form of music, folk music is associated with specific ethnic, regional and cultural backgrounds. However, due to historical and cultural reasons, music culture in many nations is facing serious challenges, including loss, degradation and forgetting. This paper analyzes the main problems in the inheritance of Chinese national music culture, including the degradation of traditional culture, the loss of the young generation and the lack of inheritance mechanism. In terms of development, this paper discusses the challenges of modernization and cultural integration faced by national music culture. Finally, this paper puts forward some solutions, including strengthening traditional culture education, promoting the integration and innovation of traditional music and modern music, and establishing an effective inheritance mechanism. Through these efforts, we can protect and inherit the national music culture, and lay the foundation for its future development.

Mapping Musical Mobilities: Challenging Musical Nationalism through Mobility and Migration

Often, music—particularly classical music—has been viewed in some quarters as a product of particular national cultures, with little regard paid to the ways in which mobile phenomena can contribute to its production, whether in the form of mobile people, objects, or concepts. This paper turns to notions of mobility as a means of exploring how musical cultures can be animated. It explores, too, the possibilities of particular forms of “mapping” as a way to retain, but also rethink, the spatial specificity so emphatically signalled in some musical tradition-claiming, while simultaneously avoiding the excessive valorisation of mobility that can characterise many musical careers as endlessly nomadic or socially detached. We begin by discussing the question of music and nationalism in more detail, particularly as it has been conceived of within musicology, ethnomusicology, and nationalism studies. In so doing, we aim to establish a sense of the national framing and fixing through which (classical) music has hitherto been understood in some contexts. This leads naturally onto an attendant discussion of the mobility of music, in which we will outline some of the nascent material on this topic.

Practical Exploration of Integrating National Music Elements into Vocal Teaching in Universities under the Background of Artificial Intelligence

Practical Exploration of Integrating National Music Elements into Vocal Teaching in Universities under the Background of Artificial Intelligence

Х МЕЖДУНАРОДНЫЙ КОНКУРС СКРИПАЧЕЙ «ASTANA-VIOLIN» ПАМЯТИ ДАВИДА ОЙСТРАХА

From 6 to 11 November 2023, Astana hosted the Xth International Violin Competition “Astana- Violin” in memory of David Oistrakh. The event was timed to mark the 25th anniversary of the founding of the Kazakh National University of Arts and was held with the support of the Ministry of Culture and Information of the Republic of Kazakhstan. The jury of the Xth International Violin Competition “Astana-Violin” was headed by Aiman Mussakhajayeva, People’s Artist of the Republic of Kazakhstan, Hero of Labor of Kazakhstan, Rector of KazNUI. It included People’s Artist of the Russian Federation Zakhar Bron (Switzerland), Vice‒Rector of the National Music Academy of Vietnam Bui Kong Diu (Vietnam), Artistic Director of the Vietnam Connection Music Festival Chong Wu (USA), Music Director of the Fargo-Moorhead Symphony Orchestra, conductor Christopher Zimmerman (USA), founder (together with Igor and Valery Oistrakh) of the Oistrakh Ensemble, Artistic Director of the Ost-West-Musikfest Festival Gernot Winischhofer (Austria), People’s Artist of Kyrgyzstan, conductor Ernis Asanaliev (Kyrgyzstan). The Jubilee Competition was attended by 45 young performers from different countries in two age categories: junior group (10–15 years old) and senior group (16–28 years old). The winner of the Grand Prix in the senior group was Sarah Dragan (Switzerland, class of Z. Bron). The jury members awarded personal prizes and diplomas.

Retracted: Application of Collaborative Filtering and Data Mining Technology in Personalized National Music Recommendation and Teaching

Retracted: Application of Collaborative Filtering and Data Mining Technology in Personalized National Music Recommendation and Teaching

Changing Tunes: Narratives of Nation in South African Music-Themed Postage Stamps (1961–2015)

ABSTRACT Postage stamps have in recent years been positioned as token purveyors of nation, with countries disseminating carefully curated ideas of national identity to their own citizens and international audiences. This article complements existing research by using South African music-themed postage stamps to read the changing narratives of the nation, or ‘music nationalism’ in philately. The article analyses music-themed postage stamps issued in South Africa between 1961 and 2015. It confirms that the representation of music nationalism in apartheid philately aligned with Afrikaner nationalist politics, with clear divides between ‘White’ and ‘Black’ genres. Post-apartheid music-themed stamps draw attention to forgotten music histories previously overshadowed by apartheid ideology while still engaging with musical threads of the apartheid past. Most significantly, the article illuminates the other forces at play behind what many accept to be a process solely steered and controlled by the state, revealing much about South Africa’s democracy.

테크놀로지를 활용한 중학교 음악 교수·학습 방안

With the rapid pace of digital transformation and technological advancements, there is a clear direction in education to enhance students' digital media literacy, starting with the 2022 National Curriculum; this is also an important task in music education. In line with the trend, this study investigates the types and functions of technology that can be utilized in middle school music education. Additionally, it has developed practical examples of music teaching and learning processes that make use of these technologies. To achieve this, an analysis of the 2015 and 2022 music National Curriculum was conducted, along with discussions on the necessity of technology integration in music curricula; the current middle school music textbooks were analyzed, and literature reviews, website surveys, and interviews with music education technology experts were conducted. As a result, a total of 24 technologies suitable for music activities in the areas of performance, listening, and composition at the middle school level were identified, along with their usage instructions, advantages, and disadvantages. Furthermore, utilizing those technologies, the researchers developed practical teaching and learning guides for the performance and composition areas based on the content of the 2022 music National Curriculum. As a conclusion of the research process, the researchers suggested the importance of developing music technologies that are suitable for the Korean curriculum and school environment, the necessity of learner-driven and critically receptive approaches in utilizing artificial intelligence music composition technologies, and the need for music teachers to take a leading role in the development of music education technologies.

The Concept of Musical Nationalism in Compositional Creativity: A Theoretical Aspect

The aim of the article is to reveal the essence of the concept of musical nationalism and the principles of its manifestations in professional compositional creative work. Results. The need for national identity, the desire to express oneself, and the focus on uniqueness drive humanity towards creating certain products of activity in the scientific, research, and creative spheres, collectively shaping the patriotic mentality of the entire nation. Every conscious artist who aims to lobby for national content in the socio-cultural and even political space through his creative work appeals to factors that are reproduced in the audience’s imagination as a symbol, code of the nation. The search for means and forms of expressing originality based on national characteristics, and the desire for cultural autonomy via the reproduction and artistic reinterpretation of typical features, mythology, mentality, folklore, etc. create traditions of the national style. The way this paradigm is expressed depends on the depth of experience of national issues by the author of an art work. Musical nationalism becomes the highest degree of realisation of the national idea in creative work, forms a unique concept, a content of which consists in conscious and purposeful reproduction by artists by means of music of bright national-mental attributes, values, ideas, thinking patterns and philosophising, psycho-emotional characteristics, temperament, world perception, and worldview, etc. Scientific novelty. For the first time in the history of Ukrainian art studies, the term “concept of musical nationalism” is introduced into scholarly discourse, and its meaning and the expediency of its use are explained. Conclusions. The professional musical art of any country becomes a reflection of the cultural heritage of the nation, and is based on the synthesis of the artistic content of the art sample, its emotional message, and those specific means of expression that are most capable of revealing the context of the work. One of the most distinctive identifiers of compositional creativity is the national factor, manifested by the artist in presenting characteristic features of the local society, certain archetypes, and traditions, which are originally interpreted in his heritage. A conscious, purposeful approach to the ideological content of music is the result of the author's creative reflection, a reflection through the prism of his own stylistic preferences and priorities of a number of national ideals, national dreams, centuries-old aspirations of his native people influenced by specific historical and political factors. All this forms the concept of musical nationalism.