The Development Status,Problems And Reflections Of Erhu Art In Japan

In recent years,Chinese traditional instrument erhu has achieved a successive development in Japan.However,there are some problems existing in this development process.As a Japanese student,I have been living and studying in Japan since childhood and I am quite familiar with development history of erhu in Japan.Therefore,I decide to choose this topic,hoping to analyze the developing situation and the related problems of urhu in Japan and then make some reflections on this topic.This paper falls into three chapters.In the first chapter,the development situation of erhu in Japan can be described into two parts,that is,the transmission of stage performance arts and the rise and spread of erhu teaching.Up to now,erhu art has achieved a desirable development of Japan,which can be revealed by the great popularity its timbre enjoys among Japanese.What is more,the performance stage that erhu art has promoted in Japan is very popular among the local people,such as the Twelve Girls Band,which is greatly different from the erhu concert in China.This section conducts an analysis on the present performing forms of erhu and its popular form in Japan.In the second section,the rise and the spread of erhu art teaching in Japan is analyzed.The rise of erhu teaching started from the normalization of ChinaJapan diplomatic relations and the reform and opening up in China.There were many Chinese erhu players who were attracted to Japan to hold erhu concerts,and then attracted by erhu,Japanese people began to learn erhu.This section mainly studies the rise of erhu teaching in Japan as well as its teaching forms and contents,such as the current situations of the standardization of textbooks,teachers as well as learners.The second chapter is about the problems existing in the development of erhu in Japan,and it is divided into three sections,that is,teaching norms,stage practice and its communication and transmission.In the first section,the author talks about the teaching norms of erhu in Japan.For example,the content of the teaching materials is amateur-oriented,and it pays little attention to basic skills training.What is more,there have been many erhu teachers in Japan,among which there are quite a lot of amateurs who have not received any professional training.Besides,the popularization of erhu has been achieved in Japan and there is an existing grading test center for erhu,but the content of the grading test is very difficult,without mentioning any professional skills.In the second section,the author talks about the performance practice of erhu.There are great differences between the stage performance of erhu in Japan and the erhu concert in China.There is also an absent of professionalization in the stage practice in such external aspects as costume,stage effect amd sitting posture as well as interior aspects as musical selection and the processing method of music.In the third section,the author would like to discuss the communication and transmission of erhu in Japan from a perspective as a Japanese student.Despite the fact that there are a number of erhu learners in Japan,there are few Japanese students in China when compared with the foreign students from Malaysia and Singapore studying in China.Besides,there are not many professional erhu players from China who can hold concerts in Japan.The third chapter is to make some reflections on the future development of erhu in Japan.Based on the above problems,in this chapter the author wants to discuss the ways by which erhu can have a better future in Japan when these problems appear.Furthermore,there are also some composed works from Japanese music appearing when Japanese people are learning erhu and Chinese classical works extensively.During the process of play,performance and creation,we can see the spread and development of erhu in Japan and I also have my own reflections on the problems that erhu would probably meet.The existing papers,such as the The History and Development of Erhu in Japan,The Prevalent Cultural Phenomena of Erhu in Japan as well as The Spread of Erhu in Japan,have all mentioned the development situations of erhu in Japan and made some relevant reflections.However,these papers were published between 2006 and 2009,so the statements on them may be outdated.In recent years,some changes have happened in the development of erhu in Japan,and thus views from academia on this topic have accordingly been updated.The purpose of this paper is to conduct a research and study on the development situation of erhu art in Japan in recent years,and then present the existing problems in the recent developments and make some reflections on this topic.