The Comparative Study Of Accordion Culture Between China And Russia

Accordion was invented by German in the1820s and to be widely spreaded around the world. Due to the portability of the keyboard instruments and the broad applicability of its characteristic of ensemble, solo, independent accompaniment, as well as outdoor play and can be performed in any place, It has developed a unique artistic features and cultural characteristics in all the countries. Because the similar and different social, political, cultural background of China and Russia, It has developed a unique accordion culture in the process of spreading and development in China and Russia. This article is the comparison study about the different situation and the unique cultural phenomenon on the course of development of the Chinese and Russian accordion.The paper is divided into five chapters:The first chapter makes a brief review on the development of the accordion in Russia and China respectively, especially discusses the process on how the artisans of the Russian made the imported instrument to the native musical instruments "6a(?)H", and how the "6a(?)H" become a representative folk instruments in Russian. At the same time it puts the discussion in detail on the series of process of how the accordion has been not welcome while it been first introduced to China and later been developed in the promotion with the development of China’s social, political, and cultural environment. The second chapter makes a comparison on the nationalization phenomenon of accordion art between China and Russia and makes the comparative analysis which focus on the accordion, musical instruments, music and performing music nationalization process experienced by the two countries. The third chapter researches how historical and political environment affects the accordion artistic development of China and Russia. the focus of research is how the Russian "6a(?)H" Accordion from the private to the political and symbolic meaning of national identity as a national instrument, as well as makes a more in-depth analysis to Chinese accordion art with the aid of a special political and cultural background from top to bottom by the national executive power to promote the spread of social and cultural significance. the fourth chapter retrospects accordion musical creation in China and Russia and with the comparisons between representative musicians of two nations---Le Yuqiu and Chaikin explores the similarities and differences of native accordion musical creation concepts between them. The fifth chapter conducts the study on professional education system of accordion art in China and Russia with the emphasis on the comparative study on teaching content, teaching concept, teaching evaluation and education practice in accordion major between China and Russian higher music colleges. Thus carried out a comparative analysis of the similarities and differences between the two countries on the instrument heritage system and prospects for development of this feature.In short, this article is based on the ethnomusicology research perspective. cross-cultural comparison study will be placed with a characteristic musical instruments in different social and historical and cultural background between China and Russia. Through multi-perspective analysis and comparison, I made a series of scholarly writing on communication of music, political music, sociology of music, music education, foreign instruments of national identity and musical style nationalization, etc.