Research On Music Education About Twelve Muqam In Xinjiang Area

Under the leadership of Western music system,how to inherit the minority music,how to maintain the diversity of music culture,and how to avoid the conflict of music culture is the main point of this article.This article takes the Uyghur 12 Muqam music education in Xinjiang as an example to research.The author has combed the history of Urumqi 12 Muqam education in Xinjiang and recorded the educational status of Muqam through recording and interview.The discussing is based on this.In the process of ethnic communication,the author believes that we must first understand objectively and comprehensively the culture of the other ethnic group and their thinking style in order to avoid cultural misunderstandings.As an educator,we should learn their ethnic culture to their thinking style to communicate with them.Such music and cultural exchanges will be an effective link in national integration and national unity.From the study of music ontology,the author found that Han musicologists have mastered professional music research skills and accomplishments.There are many researches on the origin and the artistic form of Muqam.In Uyghur researchers' research literature that can be collected in such platforms as HowNet and Wanfang Data,there are not many research literatures about Muqam's art theory.This may also be the difference in thinking style,music system,and ideology.The phenomenon caused.However,in the Han or Uygur literature,the literature on the teaching of Muqam is particularly small.In a multicultural context,people began to pay attention to the differences between ethnic cultures.Ethnic education is no longer a minority education but a civic education that concerns all ethnic groups.Music educators need to construct such music “contexts” so that all ethnic groups can contact Uighur music in “contexts”.In addition,the legal system and the rhythm are the key difficulties of Uighur 12 Muqam music teaching content.The music academies in Xinjiang region are mainly based on learning the twelve equal temperaments,while Xinjiang Uygur music belongs to the three quarters tone system and is one of the three major legal systems in the world.There are even many Uighur natives who do not understand the music culture of their own ethnic group much better than the Western music culture.In the three-quarter tone system,a special range such as a “quarter narrow second degree” around 150 cents,“neutral third degree” around 350 cents,and “quarter width second degree” around 250 cents often appear.In Xinjiang music academies,Uighur music elements have been added to the discipline of solfeggio,but none of them involves teaching of differential sounds.In the actual measurement process,the value of this shoe's special range is only the theoretical value.Judging from the results of the audio measurements,the performers cannot accurately reflect these values during singing and performance.These data are uncertain.At present,the approximate scope can only be determined.If the specific values of Uyghur music can be determined,and the auditory sensation of this interval can be accepted by most Uygur people.Based on this,the current existing software will be used for sampling programming and applied to teaching.This will be a major breakthrough in the learning of the three-quarters system.During the analysis of Muqam's musical scores,a large number of quatrains and quadrupletone tempo emerged.In the understanding of Uyghur music culture,how to use the Quartet system in the discipline of sing and ear training? The simultaneous teaching of the 12 equal temperaments is of great significance for the development of disciplines and national unity.The developing China urgently needs to profoundly understand the connotations of multicultural education and put it into practice.This paper analyzes and analyzes the fragments of Uygur classical music Twelve Muqam.What are the cultural backgrounds of the “Twelve Muqam of today?” and “How to bring the quartertones,the fluent sounds and the complex rhythms in Xinjiang music into the solfeggio practice classroom?”(ie,ethnomusicology The "subject" and "object" dual perspectives)are demonstrated.