Early In The 20th Century Century The Japanese In Mongolia Travel Notes On Music

Early in the 20^th Century, Gongsang Nuoerbu, a famous folk educator set up the first Girl's School in Inner Mongolia and employed two Japanese instructress Misako Kawahara and Kimiko Torii to give lectures. Misako Kawahara, as an instructress, was very active in the Royal School from December 1903 to January 1906, while actually her real mission was to pry for information for Japanese army corps. After Misako Kawahara's service term expired, Kimiko Torii took over her job and carried through investigations in Inner Mongolia. Though the two instructresses were in Inner Mongolia in different time and with different purposes, they have one thing in common, that is they taught in Kalaqin Royal School and laid the foundation for music education in schools in Inner Mongolia. In their autobiographies and travel notes there are records on music and on the condition of education at that time in Inner Mongolia, among which Kimiko Torii focused on the Mongolian folk music and culture as she saw and felt. Collecting, reorganizing, further analyzing and studying their literatures is of great significance on studying music of minority groups, especially Mongolian folk music.This paper consists of three parts, namely Introduction, Survey of Mongolian Society in Early 20th Century, Musical and Cultural Activities of Japanese People in Inner Mongolian Area in Early 20th Century & Musical Phenomenon and Characteristics in the Travel Notes of the Japanese People.In the first part [Instruction], the author mainly explains the academic value and realistic significance of the subject selection, and briefly introduces the research on Mongolian music and on related Japanese documents. The author also explains in detail the main method of research adopted.Chapter One [Survey of Mongolian Society in Early 20^th Century] consists of three parts, namely the politics, economy and culture of the society at that time. The author described in detail from the above mentioned three aspects the social condition in Inner Mongolian region in the early 20th Century, which is the social basis for the travel notes of the Japanese people. It is these social factors that more or less give rise to the musical phenomenon in the travel notes written by the Japanese people, and at the same time influenced to certain extent the music development at that time and even to the present Mongolian music.In Chapter Two [Musical and Cultural Activities of Japanese People in Inner Mongolian Area in Early 20^th Century], the author mainly included the personal information of those Japanese people who visited Inner Mongolia, and their educational and cultural activities in the region. Chapter Two is divided into three parts, the first part is "School Music Songs in Japan and in China", in which the author narrates the origin and development of school music songs in both Japan and China in the early 20^th Century; the second part is "Misako Kawahara and Music Education in Inner Mongolia", which is mainly about the context of Misako Kawahara's visiting to Inner Mongolia and her contributions to the Music Education ofInner Mongolia; the third part is "Ryuzo Torii, Kimiko Torii and Mongolian Musical Culture", which is mainly about the couple's lives in schools in Inner Mongolia and their investigations there.Chapter Three [Musical Phenomenon and Characteristics in the Travel Notes of the Japanese People] consists of four parts: "Characteristic of Mongolian Musical Instruments", "Characteristic of Mongolian Folk Music", "Characteristic of Mongolian Chama Dance" and "Characteristic of Mongolian Sa Man Music". The author adopts the traditional taxonomy in analyzing the musical phenomenon in Japanese people's travel notes from four aspects, and adopts comparative music method in summarizing the musical characteristics in Japanese people's travel notes of early 20^th Century. Here is where the core of the whole paper lies in, and through in-depth analysis and research on documents and music scores, together with neoteric Mongolian music phenomenon, concluded the characteristic of Mongolian music of early 20^th Century.