Developmental Research Of Traditional Music Theory At The Shanghai Conservatory Of Music

Through research on the origins,process,and development of the discipline of ethnic music theory at the Shanghai Conservatory of Music,this article elucidates the social significance,academic significance,and ontological connotations of the discipline in the context of national sentiment since the first half of the 20th century.It also examines the construction of the discipline from the perspective of educational theory and argues from the perspectives of curriculum and pedagogy that professional music education in China has gradually moved towards specialization and standardization.This article is divided into three sections.The first section focuses on "the academic environment and disciplinary consciousness of ethnic music theory at the Shanghai Conservatory of Music" and analyzes the background of the discipline’s inception during its formative years.Chapter 1,"The Establishment of Professional Music Schools from the Westward Movement of Music and the Birth of the National Music Academy," begins by analyzing the historical significance of the establishment of the National Music Academy,which pioneered the construction of professional music education disciplines and management systems.On the one hand,we can see the profound influence of Western educational systems,and on the other hand,the mission of inheriting Chinese indigenous music was first glimpsed at the time of the establishment of the National Music Academy.The concept of cultural guardianship was already engrained in its genes.Chapter 2,"The Integration of Foreign and Indigenous Cultures in the Soil of Traditional Culture and Self-Awareness," explains the coexistence of the aesthetics of traditional Chinese culture and the impact of Western culture in the first half of the 20th century.It also discusses the close relationship between social music life and the traditional music soil in China,as well as the extensive thinking and positioning of ethnic music in the field of professional music education.From this,we can see a vague continuity:from Xiao Youmei’s doctoral thesis at the beginning of the 20th century to Wang Guangqi’s classification of music systems,the Peking University folk song movement,and the establishment of the Lu Xun Academy of Fine Arts,etc.-With the stability and development of society,the awakening of self-awareness and identity in the field of music,the study of ethnic music theory is about to present a new development trend in higher music education institutions.The second section focuses on the "early trajectory of disciplinary thinking and the research of the teaching faculty" and elaborates on the representative figures who made significant contributions to the development of the discipline of ethnic music theory at the Shanghai Conservatory of Music.During the early stages of the discipline’s development,it was precisely due to the efforts of these individuals that a scattered specialization finally gathered into an impressive academic platform.Chapter 3,"Early Activities:From Periphery to Core" explains the main activities of three representative figures who made important contributions to the development of the discipline of ethnic music theory at the early stage.Shen Zhibai laid the foundation work,He Lüting framed the discipline through administrative means,and Yu Huiyong filled the discipline with his unique professional knowledge in the field of ethnic music theory.These early activities of the three individuals laid a solid foundation for the development of the discipline of ethnic music theory.Chapter 4,"The Gathering and Dispersion of Three Types of Talents" focuses on a special stage of the development of the discipline of ethnic music theory at Shanghai Conservatory of Music,which was triggered by the establishment of the Department of Ethnic Music in 1956.This chapter follows the main activities of three representative figures who made important contributions to the discipline:Wei Zhongle’s teaching of ethnic instruments,Hu Dengtiao’s research and creation of ethnic music,and Xia Ye’s unique professional knowledge in the field of opera music theory,which laid a solid theoretical and practical foundation for the development of the discipline of ethnic music theory.These three experts were representative of the three types of talents in the merged discipline,all of whom shared a background in ethnic music.As various disciplines continued to grow and develop,the three disciplines eventually separated from the merged entity and became independent.The third section focuses on "the development of the Shanghai Conservatory of Music’s ethnic music theory discipline",mainly explaining a special stage in the development of the discipline,which was triggered by the establishment of the Ethnic Music Department in 1956,and the subsequent construction of the discipline.Chapter 5,"Concept of Discipline,Society and Ideological Basis" first explores the interrelationships between concepts such as "discipline," "discipline construction,""profession," and "professional construction" from the perspective of educational studies,as well as the points of integration between the development of the discipline of ethnic music theory and principles of educational studies.As a discipline,the construction of the discipline of ethnic music theory has the background and influence of national top-level design.In the ideological trends of the mid-20th century,the debates between Chinese and Western music and the "Double Hundred" policy all pushed the development of the discipline forward.The rise of ethnic music research was a necessary result of the times.From history,we can also see that the attention to and exploration of ethnic music issues have a commonality in the times.Both the Central Conservatory of Music and the China Conservatory of Music were actively building and exploring in the field of ethnic music to varying degrees.Similarly,as the music school with the longest history of education,the Shanghai Conservatory of Music has always adhered to the foundation of ethnic music and has taken solid steps in future discipline construction on this ideological basis.Chapter 6,"Exploration and Experimentation" explores the development roadmap of the profession from its origins to its formation from the perspective of educational studies:from early,relatively individualized courses,to seeking common backgrounds for the discipline through the collaboration of the three elements,to the specialization of discipline classification,and finally to the discipline’s position as a component of music studies for discipline construction.From this,we can see the stages,paths,and characteristics of the"course-profession-discipline" that have emerged in the development process of this discipline,which corresponds to the theoretical formation in the previous chapter on the relationship between "profession and discipline."Chapter 7,"Disciplinary Accumulation:Achievements and Future Expectations" begins with a historical review of curriculum development within the framework of ethnic music theory.The chapter analyzes important courses that represent the foundation of the discipline,which has developed over half a century.In terms of textbooks and writings,there is a tendency for the two to be used interchangeably in the field of ethnic music theory,as they serve as both professional writings and teaching materials.However,the study of ethnic music of ethnic minorities in China is still an area that needs improvement and development,which may offer new space for future development and broaden the disciplinary landscape.The disciplinary boundaries of the construction of the ethnic music theory discipline are not fixed,and its disciplinary extension is very elastic.Therefore,industry associations,academic conferences,scientific research projects,and even the creation and performance of ethnic music styles all show theoretical support in contemporary ethnic music creation,as well as the disciplinary background support in performance.This reflects the grand narrative of disciplinary construction and the radiation or cross-disciplinary characteristics of the disciplinary center to the periphery.In conclusion,the main findings of this article are as follows:1.Adhering to the core values and necessary prerequisites of the construction of ethnic music theory discipline.2.The responsibility and obligation of higher professional music education institutions in the construction of disciplines,that is,to be responsible for cultural heritage.3.The dual focus of the construction of ethnic music theory discipline:ontology excavation and overall layout.4.The development and utilization of research tools in ethnic music theory.5.Designing comprehensive research goals and producing a series of interconnected results.6.The important value of the construction of disciplines in colleges and universities spills over into the field of basic education.