Um estudo dos estilos e características dos livros didáticos básicos de teoria musical na China nos últimos 100 anos
Palavras-chave:Teoria musical, Manuais chineses
Due to various historical and realistic reasons, the development of basic music theory in China lags behind in the teaching system, teaching content and other aspects. It is an important task for Chinese music workers to revise or supplement the current basic music theory and related textbooks and then build a discipline system of basic music theory in China. This paper synthesizes the theories of music education and music history, music culture, music morphology and other related disciplines. It uses scientific, objective and rational values and holistic and comprehensive concepts. It takes the development of the basic music theory education of China as the research object and takes history as a mirror to further consider and prospect the construction of the basic music theory discipline system of China. The basic theory of Chinese Music can be roughly divided into three stages: (1) The basic music theory from the early 20th century to the founding of the People’s Republic of China; (2) From the founding of the People’s Republic of China to the period of reform and opening up; (3) Basic music theory compiled and published since the reform and opening up. It can be seen, from the development of the basic theory education of Chinese Music and its teaching materials, that the development of western music theory in China, before the founding of the People’s Republic of China, was a process from passive acceptance to active absorption. The scope of spreading western music theory was from the palace to the church, then to the school, and, finally, to the society, which made the music theory teaching in China gradually develop into a major and minor system as the leading mode. The basic theory of Chinese Music gradually deviated from its own track. With the deepening of music research after the founding of the People’s Republic of China, the discipline development of basic music theory has witnessed a prosperous situation, and the construction of basic music theory is moving towards the direction of diversification and deepening. Many musicologists and music educators have made contributions to the construction of basic music theory in China from different disciplines and research perspectives. Based on the principle of “combining history with the theory” and combing the development of basic music theory in China, the ideal model of Chinese music theory discipline construction is conceived to promote the integration between traditional music theory and modern music theory from a diachronic perspective What is relevant to strengthen the unity of the nation and the world in basic music theory from a synchronic perspective, and to pay attention to the connotation of technology and culture in music theory teaching. But also to strengthen the scientific and logical concept in music theory textbooks.
DA, W. Liang Qichao and Zeng Zhimao’s Contributions to Modern Music Culture. People’s Music, n. 2, p. 29-31, 1983.
DAI, P. H.; HUANG, X. D. Collected Works in Memory of Xiao Youmei. Shanghai: Shanghai Music, 1993.
DEREK, R. Dictionary of Western Education. Shanghai: Shanghai Translation, 1984.
DU, Y. X. Basic Music Theory of Chinese Nation. Beijing: China Federation of Literary and Art Circles Publishing Company, 1995.
DU, Y. X. On the Structural System of Chinese Music Theory. Music Research, n. 3, p. 98-216, 2005.
FENG, Z. K.; QIU, M. H. Enlightened Music Textbook. Theory of Music. Shanghai: Shanghai Kaiming, 1935.
GE, T. Social Change in the Sound Records: Shanghai Recorded Music Industry from the Early 20th Century to 1937. The History Review, v. 6, p. 53-60, 2004.
HUANG, X. P. Building Our Own Basic Music Theory. Musicology in China, n. 4, p. 84-98, 1996.
JIN, Z. Experiencing Chinese Popular Music. Beijing: China: People’s Music, 2002.
JU, Q. H. Centennial History of Chinese Music 1900-2000. Hunan: Hunan Fine Arts & Yuelu, 2014.
LI, C. G. Fundamental of Music Principle. Beijing: People’s Music, 1962.
LI, C. G. Strengthening the Research and Study of Basic Music Theory. People’s Music, n. 3, p. 326-333, 1984.
LI, X. The History of China Cultural Industries. Changsha: Hunan Art and Literature, 2006.
LIU, J. D. Zhejiang Celebrities and the Development of Modern Chinese New Music. Hangzhou: Zhejiang University Press, 2014.
LIU, J. D. Music Appreciation. Shanghai: Shanghai Education, 2016.
LIU, Z. S. A Concise Tutorial of General History of Chinese Music. Shanghai: Shanghai Conservatory of Music, 2006.
LOU, J. The study of Shanghai’s Urban Entertainment. Shanghai: Wenhui, 2008.
MA, D. F. A Study of the History of Music Education. Jinghua: Jinghua, 2001.
MING, Y. A Guide to Chinese Music Criticism Literature in 20th Century. Shanghai: Shanghai Conservatory of Music, 2010.
QIU, L. Q. Discussion on Strengthening Quality-oriented Education in Basic Music Theory Course. Journal of Beijing Dance Academy, n. 4, p. 100-131, 1999.
SUN, C. Y. A Concise Tutorial of Music Theory. New Music, 1951.
SUN, J. N. Li Shutong-Master Hongyi’s Thoughts and Practice of Music Education. Journal of the Central Conservatory of Music, n. 1, p. 9-15, 2001.
SUN, J. N. Chronicle of Modern Chinese Music Education 1840-2000. Shanghai: Shanghai Music, 2011.
TONG, Z. L. Tutorial of Modern Music Theory. Hunan Literature and Art, 2003.
WANG, J. The Analysis of the State of China Audio Visual Industry. Publishing Research, v. 8, p. 410-433, 2006.
WANG, Z. Y. Evolution of Chinese Composition Techniques. Central Conservatory of Music, 2004.
WU, Y. Y. Music Education in Modern Chinese Schools 1840-1949. Shanghai: Shanghai Education, 1999.
XIAO, Y. M. General Musicology. Beijing: Commercial, 1928.
XU, Y. Y. Basic Music Theory of Chinese Traditional Music - The New Voice of Yue-Fu. Journal of Shenyang Conservatory of Music, n. 3, p. 32-98, 2002.
YANG, T. B. Choice in Practice and Innovation in Practice-the Development of Chinese New Music Theory and Its Ideological Enlightenment. Chinese Music, n. 3, p. 52-64, 2003.
YAO, S. Y. Literature of Chinese Contemporary School Music Education 1949-1995. Shanghai: Shanghai Education, 1998.
YEH, N. Nanguan Music Repertoire: Categories, Notation, and Performance Practice. Asian music, v. 19, n. 2, p. 31-70, 1988.
ZENG, Z. F. Shanghai EMI (bai dai) – the Development of Shanghai EMI During the Modern Period. History Review, v. 5, p. 26-41, 2008.
ZHANG, H. N. Dictionary of Pedagogy. Beijing: Beijing, 1987.
ZHANG, J. One of the Complementary Achievements of the Discipline of Music Theory-Comment on Professor Tong Zhongliang’s A Tutorial of Modern Music Theory. Journal of Wuhan Conservatory of Music, China, n. 1, p. 29-42, 2004.
ZHANG, J. W. Compilation of Historical Materials of Modern Chinese Music: 1840-1919. People’s Music, 1998.
ZHOU, S. H. Theory and Practice of Music Basic Education. Changchun: Jilin Audio-visual, 2004.
Copyright (c) 2023 TRANS/FORM/AÇÃO: Revista de Filosofia
Este trabalho está licenciado sob uma licença Creative Commons Attribution 4.0 International License.