Journal articles: 'Folk songs, Chinese'

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Yue, Zhang. "RUSSIAN FOLK SONG "OVER THE SILVER RIVER" AND ITS FATE IN CHINA." Arts education and science 1, no. 2 (2021): 160–67. http://dx.doi.org/10.36871/hon.202102020.

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The article deals with the history of the Russian poet F. N. Glinka's poem "Veiled Traces", which was the basis for the famous folk song "Over the Silver River". The article reveals the content of the text and shows different variants of its "plot". This refers to several Russian collections containing the song "Over the Silver River", including "Ural Folk Songs" by L. Christiansen and "Folk Songs of Krasnoyarsk Region" by K. Skobtsov. Folklore collectors considered this song as an example of Russian lyrical song genre. The author analyzes the arrangement of this song included in A. Chernyavsky's piano book and notes the expressive features of the performance of the song by the famous singer I. M. Skobtsov. The original and adapted versions are compared in terms of style and expressive techniques in the context of Chinese traditions, in order to identify specific and common properties within two different cultures. The roles of the folklore collector Wang Lobin, who recorded the song "Over the Silver River" using elements of Chinese music, and the composer Li Yinghar, who arranged Russian melody adopted in Chinese culture, are highlighted. Musical samples are also presented. Russian music in China is a special "cross-border" phenomenon, and the interest in Russian culture and Russian musical folklore in China is very high. Russian folk songs are loved in China and are very popular.

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Han, Zhen, and Hongyang Lv. "Analysis of the Artistic and Cultural Connotation of Hebei Folk Song "Flower"." Economic Society and Humanities 1, no. 1 (2024): 94–96. http://dx.doi.org/10.62381/e244117.

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Hebei folk song is a kind of ancient han nationality folk music, with the characteristics of tragic and stirring and desolate, or melodious, showing the simple and honest temperament of the working people of all ethnic groups in Hebei province."Flower Flowers" is not only an excellent representative of Chinese national works, but also a widely circulated folk song in central Hebei. This paper analyzes the artistic connotation of the folk songs, folk flavor, regional characteristics and the style of The Times reflected in the Flower, so that readers have a comprehensive understanding of the artistic connotation of Hebei folk songs.

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Lin, Kang. "Folk songs in the content of general music education in China." Science and School, no. 5 (October 29, 2023): 203–10. http://dx.doi.org/10.31862/1819-463x-2023-5-203-210.

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The article is devoted to the problem of increasing the role of folk songs in the content of general musical education. This problem is relevant not only for China, but also for Russia. It is connected with the tasks of the modern state educational and cultural policy of these countries, aimed at educating the younger generations in the context of their own national and cultural traditions and spiritual and moral values. The purpose of the article is to reveal the role of Chinese folk songs in the content of modern general musical education in China. The article reveals certain aspects of the history and artistic originality of Chinese folk songs, considers the state requirements for their development by schoolchildren, presents the results of the analysis of folk songs included in music textbooks for grades 1–6 of China’s comprehensive schools. It was revealed that they include significantly fewer samples of folk music than Western European and modern Chinese. Among the folk songs, songs of ethnic minorities (Tibetan, Mongolian, etc.) prevail, and not of the Chinese ethnic group. From this, a conclusion was made about the need to develop and theoretically and methodologically substantiate the pedagogical conditions for increasing the role of Chinese folk songs in the content of general musical education in China.

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Gao, Yu. "Study on the Historical Development of Folk Songs in Shanbei." International Journal of Education and Humanities 14, no. 1 (2024): 166–67. http://dx.doi.org/10.54097/yz7r9e57.

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Northern Shanbei folk songs are famous traditional music in China. This study focuses on the origin and historical development of northern Shanbei folk songs, as well as its characteristics and ways of expression. The origin and development of northern Shanbei folk songs have not only incorporated ancient farming culture and theatre traditions, but also combined them with modern music to form a unique musical style and mode of expression. This has made northern Shanbei folk songs retain their ancient characteristics in their inheritance, while also advancing with the times and adapting to the needs of modern society. As an important part of Chinese folk songs, northern Shanbei folk songs are of great significance to the study of Chinese music culture and social history.

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Luo, Xiuhong, and Tawanchai Suanmonta. "Anthropological Perspectives on the Historical Development of Salar Folk Songs in Qinghai Province, China." International Journal of Sociologies and Anthropologies Science Reviews 4, no. 2 (2024): 289–98. http://dx.doi.org/10.60027/ijsasr.2024.3965.

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Background and Aims: Salar folk songs, an integral part of the cultural heritage of Qinghai Province, China, are a testament to the remarkable diversity within Chinese culture. This research aims to investigate the historical development of Salar folk songs in Qinghai Province, China. Materials and Methods: Result: The research reveals that Salar folk songs have evolved, adapted, and continue to thrive, serving as a testament to the enduring mechanisms of cultural preservation. Recommendations include cultural preservation efforts, education, collaborative research, and international recognition, ensuring the continued vitality of Salar folk songs as a living legacy within the Chinese cultural mosaic. Results: The research reveals that Salar folk songs have evolved, adapted, and continue to thrive, serving as a testament to the enduring mechanisms of cultural preservation. Recommendations include cultural preservation efforts, education, collaborative research, and international recognition, ensuring the continued vitality of Salar folk songs as a living legacy within the Chinese cultural mosaic. Salar folk songs are vital for their cultural heritage, requiring preservation, documentation, and promotion. Collaborating with scholars, incorporating them into festivals, tourism initiatives, and educational curricula, and gaining international recognition can facilitate cross-cultural exchange and contribute to diverse Chinese culture. Conclusion: Safeguarding the rich tapestry of Salar folk songs demands concerted efforts in cultural preservation, documentation, and promotion. Embracing collaborative initiatives, integrating these melodies into various cultural platforms, and securing international recognition will not only ensure the vitality of this living legacy but also foster cross-cultural exchange, enriching the diverse tapestry of Chinese culture.

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Boldyrev, Volodymir. "A folk song in the repertory of a vocalist as the way of forming multicultural performing traditions." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (2018): 181–92. http://dx.doi.org/10.34064/khnum1-50.13.

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Background. The article is devoted to the scientific-methodical analysis of the phenomenon of a folk songs assimilation into the multicultural vocal tradition. A folk song is presented in the aspect of national self-consciousness and plurality of modern performing traditions in the conditions of multi-stylistic cultural attitude. The relevance of the topic is the theoretical comprehension of the role of a folk song and singing in multicultural context. The purpose of the research is a comprehension of the phenomenon of the folk songs assimilation in multicultural vocal traditions under the new wave of interest in national dimension of “West – East” and necessity of quality vocal education of rising Chinese students-vocalists. The article based on the studies of materials of curriculums, methodical elaborations and manuals developed in the department of solo singing at Kharkiv National I. P. Kotlyarevsky University of Arts. Research results. Modern multicultural performing traditions in conditions of expanding geography of creative experience exchange needs in new philosophical and scientific-methodical comprehension. Based on variety international cultural programs there are traineeship groups, exchange of students and teachers, presentations of common creative projects. The modern cultural background of Ukraine is enriched with unique concerts of Chinese students performing not only classical repertoire, but Chinese folk songs as well. Methodical comprehension of stylistic layers and ways of formation of multicultural traditions occurs according to the methods of comparison of general intonations in folk songs. Vocal methodic of sound extractions is founded on general grounds, regardless of national specificity, however, the comparison and plurality make the process of performing reproduction of vocal styles more accessible for comprehension by students. The issues of national certainty and vocal-technical skills, interpretative experience in the concert forms and singing genres are considered in the research. The innovative aspect of the topic disclosure is the involvement of Chinese folk songs and pieces by Chinese composers in interaction with pieces by Italian and Ukrainian composers in the repertory of the learning vocalists. The practical task is to reveal the multi-national potential of musical mindset of contemporary singers in the context of the steady tendency to the mental-stylistic plurality in the art of the 21st century. It is proved that the vocal-technical learning of general world experience occurs through the recognition of the plurality of stylistic features of folk songs. The folk song is the “cornerstone” of the performing tradition, the basis of the vocal repertoire of any national school. It is included in a composition of compulsory pieces for participation in national and international vocal competitions. Thanks to the folk song what is the carrier of the ancient information and performing features included by previous singer generations, a deep connection of the artist with folk-song traditions occurs. The category “folk singing” is a coherent entity that contains the minimum set of information what includes distinctive harmonic figures, instrumentation, texture, acoustic features of rendition. The traditional Chinese song, based on pentatonic scale, becomes an illustration of the national “general intonation”. "Sense" of an entire tone for the formation of the purity of vocal intonation assumes an exclusive meaning. The success in acquisition of pentatonic melodies is provided due to similarity of intonation sets what are typical for musical cultures of different nations over the world. The folk song in the repertoire of the learning vocalist is a reflection of the multicultural traditions in the conditions of the domination of academic vocal culture. The study of the melodics of the song and its harmony and form peculiarities contributes to the adaptation of the singer’s mindset to the alternative mental principles of vocal art and to the universalism of mindset in the forming of professional academic performing. The Chinese folk song, the Ukrainian duma, East mugham singing and other similar reflect the spiritual world of folk reproducing historical antiquity. Therefore, the folk song as an integral part of the modern repertoire in vast enriches the intonation, spiritually-aesthetic and cultural fund of a vocalist. The conclusions summarize the complexity of the problem, the components of which are the adapting of mindset to the alternative mental bases of vocal art and rising of universalism in conditions of multi-stylistic plurality. The bases of formation of multicultural traditions are generalized: the comparison of stylistic layers; exploring the general world experience through the national certainty (basic vocal repertoire as a synthesis of stylistic plurality); vocal-technical equipment, the comparison of melodic, harmonic and tempo-rhythmic principles of differrent folk songs; rendition of the folk song in the original language. All of these bases reveal the content of the movement to the formation of multicultural performing traditions in order to advance of the professional academic background.

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Xu, Huihui. "Problems and Suggestions of Teaching Folk Songs in Middle School Music: The Teaching Materials of Renyin Edition." Journal of Education and Educational Research 6, no. 1 (2023): 102–5. http://dx.doi.org/10.54097/jeer.v6i1.14168.

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Folk songs are an important part of Chinese traditional music culture, which contains the deep humanistic connotation and values of the Chinese nation. School music education as an important position for the inheritance of Chinese traditional excellent music culture, teachers should take up the responsibility and obligation to promote and innovate Chinese traditional excellent music culture. The author takes the Renyin edition junior high school music textbook as the research object, and carries out in-depth research and analysis on the music textbook as well as the problems existing in the implementation of the textbook, and finds that there are many problems: in terms of the content, the students have a sense of distance to the folk songs; in terms of the singing, the dialect is obscure, difficult to understand and difficult to learn; and in terms of the implementation, there is a lack of a framework for the teaching of the folk songs and it is not systematic enough. By specifically analyzing the teaching materials, we try to solve the bottlenecks encountered in junior high school folk song classrooms and put forward several suggestions to solve the problems.

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Sainan, Fu. "The “Beauty in Sound” and “Beauty in Form” in English Translation of Zhuang Love Songs from Variation Theory of Comparative Literature." Studies in Linguistics and Literature 7, no. 3 (2023): p40. http://dx.doi.org/10.22158/sll.v7n3p40.

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Zhuang people love singing. Their folk songs are diverse in form and rich in content. As one of the dozens of Zhuang folk songs, love songs of Zhuang are diverse, melodic and rich in content. As Zhuang love songs is an important part of Zhuang folk songs, translating the classic works of Zhuang love songs into English is conducive to the dissemination of Zhuang culture, showing the diversity of Chinese national culture and telling Chinese stories well. From the perspective of variation theory of comparative literature, the paper will take the existing English versions of Zhuang love songs as examples, such as Poya Love Songs and Liao Songs of Pingguo Zhuang, and analyze the variation of “beauty in sound” and “beauty in form” in the process of translating Zhuang love songs into English.

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Liu, Hui, Kun Jiang, Hugo Gamboa, Tingting Xue, and Tanja Schultz. "Bell Shape Embodying Zhongyong: The Pitch Histogram of Traditional Chinese Anhemitonic Pentatonic Folk Songs." Applied Sciences 12, no. 16 (2022): 8343. http://dx.doi.org/10.3390/app12168343.

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As an essential subset of Chinese music, traditional Chinese folk songs frequently apply the anhemitonic pentatonic scale. In music education and demonstration, the Chinese anhemitonic pentatonic mode is usually introduced theoretically, supplemented by music appreciation, and a non-Chinese-speaking audience often lacks a perceptual understanding. We discovered that traditional Chinese anhemitonic pentatonic folk songs could be identified intuitively according to their distinctive bell-shaped pitch distribution in different types of pitch histograms, reflecting the Chinese characteristics of Zhongyong (the doctrine of the mean). Applying pitch distribution to the demonstration of the Chinese anhemitonic pentatonic folk songs, exemplified by a considerable number of instances, allows the audience to understand the culture behind the music from a new perspective by creating an auditory and visual association. We have also made preliminary attempts to feature and model the observations and implemented pilot classifiers to provide references for machine learning in music information retrieval (MIR). To the best of our knowledge, this article is the first MIR study to use various pitch histograms on traditional Chinese anhemitonic pentatonic folk songs, demonstrating that, based on cultural understanding, lightweight statistical approaches can progress cultural diversity in music education, computational musicology, and MIR.

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Zeng, Ao, and Kritsakorn Onlamul. "Historical Development in Education and Cultural Literacy of Chinese Tujia Working Songs in Chongqing." International Journal of Education and Literacy Studies 11, no. 4 (2023): 218–24. http://dx.doi.org/10.7575/aiac.ijels.v.11n.4p.218.

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Chinese Tujia folk songs, deeply rooted in the cultural heritage of the Tujia ethnic group, serve as a living repository of history, values, and traditions. The primary objective of this study is to investigate the historical development of education and cultural literacy in Chinese Tujia working songs in Chongqing. The comprehensive literature review provides insights into the history of the Tujia ethnic group, their musical heritage, and contemporary challenges to preserving their cultural traditions. The research site includes Youyang Tujia and Miao Autonomous County, Shizhu Tujia Autonomous County, Pengshui Tujia, and Miao Autonomous County, and Qianjiang District. Key informants, including accomplished artists, academic researchers, and local experts, share their invaluable insights related to the preservation and performance of Tujia folk songs. By using the principles of music aesthetics, music ethnology, and ancient Chinese music history. The result of this study underscores the critical importance of preserving intangible cultural heritage, especially in the context of today’s rapid modernization and globalization. They highlight those traditional folk songs, like Chinese Tujia working songs, hold immense cultural and historical value. The study also provides actionable recommendations for ensuring the continued vitality of these culturally rich songs. These suggestions can guide efforts to integrate Tujia folk songs into educational curricula, support local musicians and artists, and promote cultural events.

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Backer, Jorg, and Antoinet Schimmelpenninck. "Chinese Folk Songs and Folk Singers: Shan'ge Traditions in Southern Jiangsu." Asian Folklore Studies 59, no. 2 (2000): 337. http://dx.doi.org/10.2307/1178930.

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Hui, Yu, and Antoinet Schimmelpenninck. "Chinese Folk Songs and Folk Singers. Shan'ge Tradition in Southern Jiangsu." Yearbook for Traditional Music 31 (1999): 147. http://dx.doi.org/10.2307/767991.

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Stock, Jonathan, and Antoinet Schimmelpenninck. "Chinese Folk Songs and Folk Singers: Shan'ge Traditions in Southern Jiangsu." Asian Music 29, no. 2 (1998): 142. http://dx.doi.org/10.2307/834369.

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Wu, Jiayu, Cheong Jan Chan, and Julia Chin Yee Chieng. "The Innovation of Mongolian Folk Song Music Cultural Inheritance Path Based on Intelligent Computing Analysis of Communication Big Data." Security and Communication Networks 2022 (April 11, 2022): 1–13. http://dx.doi.org/10.1155/2022/5752751.

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Cultural inheritance and innovation is an important measure to enhance the vitality of traditional culture and realize the sharing of national culture. Mongolian folk music, as an important part of Chinese cultural resources, plays an irreplaceable role in inheriting Mongolian culture. How to better inherit the music culture of ethnic minorities has been a hot topic in the music education circle in recent years. However, when we focus on the campus inheritance of ethnic minority music, we have to pay attention to the original living space of ethnic minority music and its unique local inheritance method. What is the relationship between them? What are the similarities and differences? The investigation of the relationship between the two is an indispensable content for exploring the inheritance of minority music. This paper aims to study the innovation of the inheritance path of Mongolian folk song music culture, endow Mongolian folk song music with a new era connotation in the new era, and let the folk song music culture be inherited and revitalized in the in-depth contact with the masses. This paper proposes a method to study user needs with the help of dissemination big data, identify malicious traffic with the help of the Internet of Things, find the most touching music and cultural elements of users, innovate and integrate the Mongolian nation, avoid malicious traffic from invading Mongolian folk songs, and enhance the attractiveness of Mongolian folk songs. Experiments have shown that Mongolian folk songs have a strong appeal, and the participation rate of young people in Mongolian folk songs has increased by 20%.

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XIWEN, ZHOU, and TAZUL TAJUDDIN. "THE ISSUES OF SURVIVAL AND INHERITANCE OF YUNNAN ETHNIC MINORITY FOLK SONGS IN CHINA." INTERNATIONAL JOURNAL OF RESEARCH IN EDUCATION HUMANITIES AND COMMERCE 04, no. 04 (2023): 01–09. http://dx.doi.org/10.37602/ijrehc.2023.4401.

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Yunnan Province is home to many of China's ethnic minorities, with 25 ethnic groups living in an area of 394,100 square kilometers. Chinese ethnic minority music is an art form created by ethnic minority groups in their daily life and widely spread among the folk. As an indispensable part of people's lives, it condenses the daily life, labor, production activities, and folk habits of all ethnic groups, and is a true portrayal of the normal life of ethnic minorities. The diversity of ethnic groups has contributed to the various styles of ethnic folk songs. The diverse ethnic folk songs serve as an important part of traditional Chinese culture. However, the development of the social economy, the acceleration of modernization, and the strong impact of foreign music culture led to the unprecedented survival crisis faced by Yunnan minority folk songs. The author will analyze the reasons that lead to the survival crisis of minority folk songs in Yunnan in terms of its self-development and social factors and put forward relevant thinking on the future development of minority folk songs, hoping to provide some references and theoretical basis for contemporary composers and researchers.

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Lau, Wai-Tong. "Teaching Chinese Folk Songs with an Authentic Approach." Music Educators Journal 94, no. 2 (2007): 22–27. http://dx.doi.org/10.1177/002743210709400206.

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Starikova, Ekaterina O. "The moon, the sun, and stars in Vietnamese folk songs." Russian Journal of Vietnamese Studies 7, no. 1 (2023): 82–94. http://dx.doi.org/10.54631/vs.2023.71-109874.

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The article is devoted to astral imagery in Vietnamese folk poetry. Author of the study analyzes folk songs (ca dao) about the Moon, the Sun, stars and constellations, as well as about mythical characters associated with astral myths. Folk songs are cited in Vietnamese language and accompanied by a Russian translation made by the author of the research. Moon imagery is widely represented in Vietnamese folk poetry, as the Moon is associated with the time when love songs are sung. There are both autochthonous Vietnamese and Chinese images. Some of the images of the Chinese origin are very popular as God of marriage Nguyet Lao, the Cowherd and the Weaver Girl. Other Sinitic images as stars Sam and Thuong are rare and rather literary. There are also autochthonous images in folk poetry, associated with Vietnamese mythology, with the legends of Cuoi, who lives on the Moon, with the legend of two brothers who turned into the Morning and Evening Stars.

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Chen, Lin, and Zhuang Miao. "Research on English Translation of Shaanxi Folk Songs under the Perspective of Translation Aesthetics." Journal of Global Humanities and Social Sciences 4, no. 05 (2023): 236–41. http://dx.doi.org/10.61360/bonighss232015000504.

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Shanbei folk song, an art form full of flavor and emotion, carries the deep historical and cultural heritage of the Shanbei region. It is not only a form of music, but also a kind of emotional communication, a kind of cultural communication. Songs are emotional bridges across cultures and languages, and through translation, the emotions and life experiences of the people of northern Shaanxi can be shared with people all over the world. By translating northern Shaanxi folk songs into English, more people can understand and appreciate this unique art form, thus better spreading traditional Chinese culture. However, when translators try to translate them into English, many difficulties and challenges follow, such as language barriers and cultural differences. Therefore, how to correctly deal with the challenges and accomplish high-quality translation is the key concern of every translator. Based on this, this paper elaborates on the specific path of English translation of Shaanxi folk songs from the perspective of translation aesthetics.

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Wang, Xufeng, Sayam Chuangprakhon, Shuying Jian, and Guangguo Wang. "Educational resources and instructional approaches for Chinese Hua'er Folk Songs in Gansu and Ningxia." Journal of Education and Learning (EduLearn) 18, no. 3 (2024): 914–22. http://dx.doi.org/10.11591/edulearn.v18i3.21589.

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This study delves into the cultural significance and educational potential of Hua'er folk songs within the Hui ethnic communities of Gansu and Ningxia in northwest China. By positioning Hua'er as an indispensable educational tool in folk song history, the research seeks to safeguard and elevate this revered musical tradition. Employing literature reviews, immersive fieldwork, questionnaire surveys, interviews with four significant contributors, and direct observations, the study sheds light on the importance of Hua'er music as a cultural legacy. These insights offer valuable guidance for educators, cultural institutions, and future research initiatives. Through a detailed exposition of the research methodology, this study enriches our understanding of the diverse landscape of Chinese folk song history, presenting avenues for further exploration and practical application in educational contexts.

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Zishu, Zhang, and T. I. Baklanova. "Scientific and Methodological Bases for Teaching Chinese Folk Songs to Students in the Context of Traditional Culture." Prepodavatel XXI vek, no. 2/1 (March 30, 2023): 176–83. http://dx.doi.org/10.31862/2073-9613-2023-2-176-183.

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The article deals with one of the topical problems of music and pedagogical education. Intensive development of cooperation between China and Russia in this sphere makes it necessary to teach students, whose vocal programs include Chinese folk songs, emotional expressiveness of their performance in the context of traditional culture. So far, the scientific and methodological bases for such training have not been developed. The aim of this article is to substantiate the experimental variative section “Chinese folk songs and traditional culture” in the vocal program for future music teacher students. The article considers the study of Chinese folk songs in the context of traditional culture, substantiates the importance of the study of traditional culture of China for the expressive performance of these songs by students, suggests several modules of the experimental variable section of the program of the course “Vocal”: theoretical (cultural-historical, ethnical-cultural and ethnic-music modules) and practical (performing). Based on this the conclusion on the prospects of development, experimental testing and implementation of this section in the programs on vocals for future music teachers, studying in the Chinese and Russian pedagogical universities, is drawn.

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Sun, Xiaosong. "The creative characteristics of Liu Chi's film songs in the early days of the founding of the People's Republic of China." International Journal of Education and Humanities 12, no. 3 (2024): 106–8. http://dx.doi.org/10.54097/dgqa3d56.

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In the early days of the founding of the People's Republic of China, Chinese film music entered a heyday, and Liu Chi was the most influential composer at that time. In his film songs, based on the development of the times, he boldly used ethnic and folk music as song materials, innovated the form of songs, and created many popular film songs for the people. This article starts from analyzing the three movie songs created by Liu Chi in the early days of the founding of the People's Republic of China, and summarizes his creative characteristics from the perspectives of nationality, originality, and contemporaneity. Provide research ideas for the development of film songs during this period.

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"'." Society for Chinese Humanities in Korea 72 (August 30, 2019): 427–50. http://dx.doi.org/10.35955/jch.2019.08.72.42710.35955/jch.2019.08.72.427.

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So far, in many “history of modern Chinese literature”, the new poetry has called it a ‘hybrid’ born out of the influence of the West. However, the beginning activities related to the folk songs in the early stage of the new poetry gave new and changes in the process of the spontaneous growth of the new poetry, and felt the difficulties while homogenizing in the songs, and gained a lot of inspiration from it. This thesis expounds the necessity of studying the relationship between new poetry and folk songs, and steps on how to conduct research, and divides the inspiration part of the new poems in folk songs into the part to investigate. First, the new poetry and the folk songs are connected in the characteristics of ‘spoken language’. They are mainly spoken and have similarities in language, form and content. It is worth mentioning that the spoken language with dialect elements has a close relationship with the advanced posture of literature and art. Second, life has a vision. This rhythm is not to re-create a new rhythm, nor to say that all rhythms should not be used, but to use ‘the rhyme of the native sound’ and ‘the rhyme of nature’. Third, It emphasizes the poetic feeling. Zhou Zuoren(周作人), Liu Bannong(劉半農), and Yu Pingbo(兪平伯) all emphasized these features, saying that the poetic feeling Activates, it should not be writed and should never be writed in ordinary times. Many critics have a negative view of the relationship between new poetry and folk song, but the new poet found the folk song again in the transition period between the new and the old, and tried to join and improve the tradition in a new way. What can not be denied is that the folk songs has become a ‘small tradition’ of poetry, and has provided the possibility of improvement to the poetry.

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Chen, Hongyu, and Peerapong Sensai. "Education and Literacy in the Development and Transmission of Chinese Yao Nationality Folk Songs." International Journal of Education and Literacy Studies 12, no. 1 (2024): 213–20. http://dx.doi.org/10.7575/aiac.ijels.v.12n.1p.213.

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Chinese Yao Nationality Folk Songs are a distinctive cultural treasure thriving within the Guangxi Zhuang Autonomous Region, intimately intertwined with the lives and traditions of the Yao people. The objective of this study is to investigate the role of education and literacy in the development and transmission of Chinese Yao Nationality folk songs in the Guangxi Zhuang Autonomous Region. The research site, Jinxiu Yao Autonomous County, serves as a culturally significant backdrop, chosen for its accessibility and cultural relevance to the research objectives. To gain comprehensive insights into this complex topic, three key informants with specialized knowledge and cultural insights were meticulously selected. An array of research tools, including observation forms, interview forms, and questionnaires, were employed to gather data and analyze various aspects of Yao Nationality folk songs. The results reveal the multifaceted phases of development these songs have undergone, from their sacred origins to their role in communal celebrations and emotional expression. The transmission of these songs is showcased through a blend of oral traditions and written records, with a contemporary integration of media and technology. This research suggests the need for a balanced approach to preserving cultural heritage while embracing modernity.

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Хуан, Л. "Application of Chinese folk music in solfegio lessons." Bulletin of Pedagogical Sciences, no. 5 (May 17, 2024): 278–82. http://dx.doi.org/10.62257/2687-1661-2024-5-278-282.

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в настоящей статье рассматриваются способы применения китайской народной музыки на уроках сольфеджио. Автором приводится краткая характеристика системы музыкального образования в китайских учебных заведениях, а также ее отличительные особенности. В работе также рассматривается народная музыка и музыкальные инструменты различных регионов Китая как важное культурное наследие страны, которое необходимо сохранять и передавать будущим поколениям. Выделяются две музыкальные системы в контексте традиционного китайского искусства, как «лулу» и «цзимин», которые могут использоваться на уроках сольфеджио. Композиции, которые можно использовать в качестве репертуара, были разделены на несколько категорий: Хаоцзи, Шанге, Тианцзе, Сяодяо, Буре, Сюжетные песни, Религиозные песни. Содействие применению национального музыкального мышления в обучении сольфеджио не должно исключать западное. Вместо этого предполагается объединить китайский и западный стили для того, чтобы получить глубокое и всестороннее понимание двух музыкальных культур и повысить уровень музыкальных навыков учащихся. the article discusses the ways of using Chinese folk music in solfeggio lessons. The author gives a brief description of the system of music education in Chinese educational institutions, as well as its distinctive features. The paper also considers the folk music and musical instruments of various regions of China as an important cultural heritage of the country, which must be preserved and passed on to future generations. Two musical systems stand out in the context of traditional Chinese art, like "lulu" and "jiming", which can be used in solfeggio lessons. Songs that can be used as repertoire have been divided into several categories: Haoji, Shangge, Tianjie, Xiaodiao, Bure, Story songs, Religious songs. Promoting the application of national musical thinking in teaching solfeggio should not exclude the Western one. Instead, it is supposed to combine Chinese and Western styles in order to gain a deep and comprehensive understanding of the two musical cultures and improve students' musical skills.

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Tang, Jing, and Phiphat Sornyai. "The Cultural Treasures of Baima Tibetan Folk Songs in Gansu Province, China, as a Resource for Literacy Education in Chinese Music History." International Journal of Education and Literacy Studies 11, no. 3 (2023): 234–43. http://dx.doi.org/10.7575/aiac.ijels.v.11n.3p.234.

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Baima Tibetan folk songs are an integral part of the Baima Tibetan music culture. They are performed in diverse styles, including solo, duet, lead singing, round singing, and chorus. The objective of the study was to explore the significance of Baima Tibetan folk songs as a resource for literacy education in Chinese music history. By engaging with key informants divided into three groups - scholar informants, casual informants, and general informants. The result of this study reveals that ritual music holds deep roots in religious beliefs and is performed during sacrificial ceremonies, marriage ceremonies, and funeral ceremonies. Dance music culture reflects the collective nature and community cohesion of the Baima people, with dances like the fire circle dance serving as prominent expressions. Folk songs encompass a wide range of themes, including labor, wine, wedding, and love, showcasing the diverse musical expressions within Baima Tibetan society. The unique rituals, dances, and songs of the Baima people contribute significantly to the preservation and celebration of their rich cultural heritage. This study highlights the educational potential of Baima Tibetan folk songs as valuable resources for promoting literacy and understanding in the context of Chinese music history.

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Xie, Jin, and Lan Jiang. "A study on the singing method of Chinese composer Zhao Yuanren art song ‘Listening to the Rain’." Korean Society of Music Education Technology 59 (April 16, 2024): 199–221. http://dx.doi.org/10.30832/jmes.2024.59.199.

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Zhao Yuanren was a famous Chinese linguist and composer in the early 20th century. While studying the Chinese language, he began to create art songs with Chinese national characteristics, and achieved great results. Not only that, he was also one of the first Chinese composers to use western music creation techniques. Zhao Yuanren used his language research results and music research results. He combined Chinese folk music with Western creative techniques and created a new Chinese art songs. As a result of all these aspects of his achievements. Artists like Xiao Youmei called him Oriental Schubert. This research is based on "Listening to the Rain 听雨" in Zhao Yuanren's early art song. We find that "Listening to the Rain 听雨" is Zhao Yuanren's reading style of Chinese opera poetry. At the same time, on the basis of Chinese folk music, combined with western music creation techniques, the songs of early Chinese artists were born. During the course of this study, I analyzed the overall structure and music of this art song. According to the results of Zhao Yuanren's linguistics research, I also analyzed the pronunciation method of the lyrics. It also analyzes the singing version of the famous Chinese singers. Finally, I suggested how to sing the song. In order to objectify the results of this study, I discussed with three Chinese singers and university professors. The study results are presented as follows. The study results are presented as follows： First, keep your breathing at about 50%. The breath of the voice is not shaken. Make full use of the diaphragm to sing. In this way, singing can keep the same feelings from beginning to end. Second, the song does not have significant mood changes and timbre differences. The rhythm is very steady. The vibration frequency of the sound should be very soft, concise, delicate, just like the feeling of leaves falling in the breeze. Third, in the timbre, the voice can not be heavy, relax to sing. Make the voice feel soft. But the sound should distinguish between bright and dim. Fourth, rather than a strong emotional engagement. More need to have a hazy feeling and missing the feeling. Sing this song with sad feelings. Fifth, this song is an art song created based on the new poems as the lyrics. So sing like a poem.Therefore, we should pay special attention to the tone of Chinese Chinese and the rhythm of reading after singing. And perfect correspond to western music. So be sure to use the rules of pronunciation lyrics invented by Zhao Yuanren. Chinese art songs have now become one of the central genres of Chinese vocal music."Listen to the Rain" is a song of early Chinese artists, and it is the basis of understanding the whole Chinese art song. But now due to the western sound and pronunciation, it can not fully show the beauty of Chinese art songs. I hope that the research results will have a meaningful impact on famous Chinese singers and also on students learning Chinese music.

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Li, Yue. "Research and Implementation of Emotional Classification of Traditional Folk Songs Based on Joint Time-Frequency Analysis." Mobile Information Systems 2022 (May 2, 2022): 1–9. http://dx.doi.org/10.1155/2022/1224274.

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Traditional folk music is built on traditional folk songs. The five types of emotions of patriotism, homesickness, affection, friendship, and love are all depicted in modern Chinese folk songs, which show the rich and colorful emotions of people of all ethnic groups in China. Modern Chinese folk songs that express these emotions have a variety of artistic features in terms of melody, rhythm, mode, and mood and provide the audience with unique aesthetic experiences. This paper focuses on JTFA- (Joint Time-Frequency Analysis-) based emotional classification of traditional folk songs, as well as PCA (principal component analysis) and KPCA (Kernel-Based Principle Component Analysis) methods for nonstationary signal feature dimension reduction. The simulation results show that the number of features in KPCA is less than in PCA for the same accuracy. When the number of features is equal to the number of principal components, the accuracy is higher than PCA, indicating that KPCA has a better effect in dimension reduction and feature extraction. Furthermore, in all categories, the double-layer classification model maintains a relatively high recall rate and accuracy rate, demonstrating the effectiveness of the double-layer multimusic emotion classification model.

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Kuo-Huang, Han. "Folk Songs of the Han Chinese: Characteristics and Classifications." Asian Music 20, no. 2 (1989): 107. http://dx.doi.org/10.2307/834022.

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Yang, Jing, and Suthasinee Theerapan. "The Contemporary Status of Pingxian Folk Songs and Their Educational Significance in Qinghai Province Through Anthropological Analysis." International Journal of Sociologies and Anthropologies Science Reviews 4, no. 2 (2024): 367–78. http://dx.doi.org/10.60027/ijsasr.2024.4013.

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Background and Aims: This anthropological study delves into the contemporary status and educational significance of Pingxian folk songs in Qinghai Province, China. Pingxian folk songs are known for their delicate melodies. This research aims to analyze the contemporary status of Pingxian folk songs in Qinghai Province and their educational significance through anthropological analysis. Materials and Methods: The research is situated primarily in Qinghai Province, specifically focusing on Xining City, a central hub of Pingxian folk songs. Data collection involves in-depth interviews and systematic observation of performances, facilitated by structured interviews and observation forms. Four key informants, including local musicians, community elders, and music educators. Results: These songs have transitioned from local folk art to distinct local folk music, embracing diverse musical elements and the emergence of professional troupes. They continue to thrive through regular performances, preserving local dialects, and enchanting melodies, and serving as living repositories of history and culture. Furthermore, Pingxian folk songs play a pivotal role in fostering cultural identity, nurturing creativity, and enhancing social cohesion among learners, contributing to cultural heritage protection and the rejuvenation of Chinese traditions. Conclusion: Pingxian folk songs in Qinghai Province epitomize a dynamic cultural heritage that resonates with audiences today. Their enduring legacy, enriched by historical evolution and contemporary vitality, underscores their significance in education and cultural preservation. As valuable tools for instilling cultural identity and fostering creativity.

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Li, Jiaxun, and Sarawut Choatchamrat. "Educational Significance in the Preservation and Transmission of Chinese Folk Songs in Tongliao Province, Inner Mongolia Autonomous Region." International Journal of Sociologies and Anthropologies Science Reviews 4, no. 1 (2024): 323–32. http://dx.doi.org/10.60027/ijsasr.2024.3753.

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Background and Aim: Chinese folk songs, particularly those originating from the Horqin region in Tongliao Province, Inner Mongolia Autonomous Region, hold profound cultural significance. This study explores the preservation and transmission of these folk songs, recognizing their importance in cultural heritage. The aim is to investigate the educational significance of preserving and transmitting Chinese Folk Songs in Tongliao Province, Inner Mongolia Autonomous Region. Materials and Methods: Three key informants, including experts in music education, singing, and Horqin folk music, were interviewed to gather insights. The research site, Tongliao Province, was chosen for its cultural richness and geographical significance. Structured questionnaires were employed for in-depth interviews, with data analyzed thematically. Results: The preservation of Chinese folk songs is intricately linked with government policies and local initiatives, emphasizing the need for both protection and innovation. National and global protection policies, along with local government support, play pivotal roles. Preservation measures include resource collection, professional education, and the safeguarding of related elements like instruments and cultural contexts. Additionally, promoting traditional festivals and raising awareness are recurring themes. Transmission involves aligning with the modern music market, market relevance, and the integration of modern technology. Collaboration and training of inheritors are vital for Horqin folk music's continuity. Conclusion: The study aligns with established theoretical principles, highlighting the crucial role of government support, adaptation to modern contexts, and collaboration in cultural preservation. Recommendations include continued support from cultural authorities, integration into education, embracing innovation, fostering collaborations, and establishing dedicated institutions. Future research could explore comparative studies, impact assessments, digital archiving, youth engagement strategies, and globalization's influence on folk music.

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Enyi, Dan. "HARMONIZING TRADITIONS: CULTURAL SYNTHESIS THROUGH PIANO ADAPTATIONS OF CHINESE FOLK SONGS." Baltic Journal of Legal and Social Sciences, no. 1 (April 18, 2024): 149–55. http://dx.doi.org/10.30525/2592-8813-2024-1-17.

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Abstract. The field of processing and arrangement of folk songs has been notably captivating for composers, as it unveils unexplored possibilities through piano, introducing new tonal expressions for well-known folk tunes. This research synthesizes methods from philosophy, cultural studies, history, and musicology. The dominant creative trend among Chinese composers is the adaptation and arrangement of their national art, diversifying the portrayal of musical content and promoting the global popularity of beloved national melodies. The works in arrangements, orchestrations, and transcriptions serve adaptive, enlightening, didactic, and concert functions in Chinese culture. The classification of these genres follows the European musicological tradition, as there is no precise definition in Chinese musicology. The analysis of piano arrangements reveals an inseparable connection to national musical traditions in terms of genre, form, tonality, timbre, and rhythm. The growing interest of European composers and performers in incorporating Chinese professional music genres opens avenues for studying new relationships and assimilating expressive elements of Chinese musical language within the European music context.

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Yan, Yun'ya. "Analysis of the characteristics and condition of folk songs of the north of Shaanxi province and their translations into Russian." Litera, no. 6 (June 2024): 310–18. http://dx.doi.org/10.25136/2409-8698.2024.6.43518.

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The aim is to substantiate and analyse the features of folk songs of the north of Shaanxi Province (China) within the framework of the concepts of linguistic picture of the world and linguistic realities and to identify the qualitative indicators of their translation into Russian. In order to achieve this goal, the main task was to find a translation way to convey the content of linguistic realities within the framework of understanding the linguistic picture of the world and thus ensure the quality of their translation into Russian. In addition, we had to solve a number of specific tasks, including the following: to select theoretical and linguistic material; to analyse and develop the general state of Shaanxi Northern folk songs and their translation; to identify the current state of research on the theory of linguistic picture of the world; to identify the relationship between linguistic realities, linguistic picture of the world and translation activities; to conduct inductive analysis of selected translations of Shaanxi Northern folk songs and analyse the manifestation of linguistic realities in them. Thus, the material for the study was songs from the north of Shaanxi Province. The subject of the study is to analyse the translations of these songs. The novelty of this work lies not only in the choice of original material, but also in the fact that by analysing the poetic and aesthetic characteristics of the folk songs of the north of Shaanxi province, at the same time we have tried to prove for the first time that the translator's ability to interpret this artistic phenomenon requires a broad background knowledge and poetic taste. We attribute the practical significance of our present study to its results, which may be useful in the dissemination of Chinese folk culture, particularly Chinese Shanbei songs among Russian-speaking peoples.

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Liu, Shutong, and Sayam Chuangprakhon. "Reviewing the current situation of Huadengxi Chinese folk songs in Yunnan Province." Multidisciplinary Reviews 7, no. 5 (2024): 2024109. http://dx.doi.org/10.31893/multirev.2024109.

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Nestled in the southwestern region of China, Yunnan Province boasts a cultural tapestry that is as diverse and colorful as its breathtaking landscapes. Among its many cultural treasures, the Huadengxi Chinese folk song shine, as a testament to the rich artistic heritage that has thrived in this region for centuries. The objective of this study is to review the present state of Huadengxi Chinese folk songs in Yunnan Province. Five key informants, with extensive knowledge and experience in Huadengxi, provided valuable insights. The data collected included observation forms, interview forms, and questionnaires, with a multidimensional approach encompassing document data, music data, audio data, and video data. This research sheds light on recent innovations, the historical evolution of Huadengxi, and its integration into educational institutions. This finding underscores the significance of preserving this traditional art form and promoting it within the educational landscape. As an era of global cultural diversity unfolds, understanding the challenges and successes of preserving and advancing traditional art forms such as Huadengxi is of paramount importance.

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Lin, Yan, Hazlina Abdul Halim, and Farhana Muslim Mohd Jalis. "Translation Purposes Determine Everything? Appellation Translation in Northern Shaanxi Folk Songs Based on Corpus Method." World Journal of English Language 13, no. 8 (2023): 512. http://dx.doi.org/10.5430/wjel.v13n8p512.

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This study employs the skopos theory to analyze the translation methods used for appellations in Northern Shaanxi folk songs, a prominent genre in Chinese folk songs. The skopos theory emphasizes the importance of understanding and respecting the purpose of a translation, as it ultimately shapes the translation process and outcome. The English translations by Wang Hongyin and Wang Zhanbin are used to create a bilingual Chinese-English parallel corpus using a corpus technique. Additionally, to help the corpus software retrieve important statistics, the appellations and translation methods are manually annotated with the pertinent software. This study identifies seven primary categories of appellations, including those related to love, characters, laborers, family, mythology, allusions, and Buddhist figures. It explores the translation methods applied to each category, revealing that Wang Hongyin and Wang Zhanbin creatively adapt these appellations to convey their essence and significance to English-speaking readers while adhering to the skopos theory’s principles. This article contributes valuable insights into the translation of Northern Shaanxi folk songs, transcending cultural boundaries and enhancing cross-cultural understanding.

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Bao, Yueli. "Not Forgetting the Original, Absorbing Foreign Things, Facing the Future—Comment on Wu Guodong’s “Chinese National Music”." World Journal of Social Science Research 7, no. 3 (2020): p61. http://dx.doi.org/10.22158/wjssr.v7n3p61.

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Mr. Wu Guodong has devoted his life to the research of national music and ethnomusicology. His works are various and achieved. Also, he practices the academic concepts himself introduced and takes the research of traditional Chinese music and culture to a more profound level. “Chinese National Music” is a masterpiece of Wu Guodong, which concentrates on teaching and combines the ethnomusicology discipline theory and traditional music research techniques. This book describes Chinese national music from five perspectives: folk songs, folk instrumental music, song and dance music, opera music, and opera music. As a new variety of textbooks, its combination of rational cognition and perceptual experience dramatically improves readers’ interest in reading. Thus, it intends to allow more students to comprehend and understand China’s rich and diverse national music from each perspective.

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Li, Juan, Jing Luo, Jianhang Ding, Xi Zhao, and Xinyu Yang. "Regional classification of Chinese folk songs based on CRF model." Multimedia Tools and Applications 78, no. 9 (2018): 11563–84. http://dx.doi.org/10.1007/s11042-018-6637-6.

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Huang, Hui, and Awirut Thotham. "Strategies for Education and Literacy in the Preservation and Transmission of Jiujiang Folk Songs in Jiangxi Province." International Journal of Education and Literacy Studies 12, no. 1 (2024): 162–69. http://dx.doi.org/10.7575/aiac.ijels.v.12n.1p.162.

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Jiujiang Folk Songs, from Jiujiang County in Jiangxi Province, is a traditional Chinese folk genre with unique musical styles and themes focusing on daily life, labor, love, and historical narratives. Beginning with an introduction that highlights the cultural significance of these songs, the study’s objective is to propose strategies for education and literacy in the preservation and transmission of Jiujiang folk songs in Jiangxi Province. Focusing on Jiujiang County, known for its rich cultural heritage, the research involves key informants with deep roots in the region and extensive experience in performing and teaching Jiujiang folk songs. Through qualitative data analysis, including live performance observations and structured interviews, the study identifies key challenges such as an aging population of practitioners, language barriers, and a lack of modern promotion. Drawing from these findings, the research suggests strategies at multiple levels, including legislative protection, cultural promotion, and school involvement, to bridge these gaps and ensure the continued preservation and transmission of Jiujiang folk songs. This study contributes to the broader discourse on the preservation of traditional cultural heritage in the face of modernization and serves as a model for safeguarding similar treasures worldwide.

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Zhao, Qing. "Old Soul with A New Look: Gong Lina’s Cover Version of the Chinese Folk Song Xiao He Tang Shui (The Flowing Creek)." Journal of Education, Humanities and Social Sciences 26 (March 2, 2024): 390–94. http://dx.doi.org/10.54097/zwme9g08.

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Xiao He Tang Shui (The Flowing Creek) stands as one of the masterpieces of Chinese folk songs with simple lyrics and beautiful melodies. Gong Linna, recognized as one of the representatives of China's emerging music, presents a new style of song and a unique vocal approach. This paper delves into the adaptation of Gong Linna's rendition of Xiao He Tang Shui, exploring her distinctive singing style and the fresh elements she infuses into the song. Through analyzing these aspects, we can perceive the charm that her rendition brings to the song.

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Wang, Duangui. "The fret-harmonic content of the Chinese melos (on the example of samples for the voice and piano in the modern arrangement)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 100–114. http://dx.doi.org/10.34064/khnum2-49.07.

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Formulation of the problem. The present article is devoted to the mental differences of the Chinese song tradition and analyzed the peculiarities of fret structures upon harmonizing the melody by modern authors. The musical stylistics of the Chinese folk song is based on the synthesis of the intonation (melodic, fret and rhythmic) features of traditional Chinese music with the lexemes of European classical music. Its content reveals the analysis of a major-minor functional system, qualitative (bar) rhythmics, containing genre formulas and techniques of the textural presentation (various forms of polyphony). The purpose of the article is to reveal the stylistic originality of the Chinese song – on the one hand; and on the other hand, to reveal the fret-harmonic features relating Chinese music with the folklore of other nations. For the European ear, the fret-harmonic originality of the Chinese melos, in addition to pentatonics, is marked by synthesizing various elements of the systems of the pitch-high organization which have set in the history of European music: archaic, modal, and tonal-functional. The relevance of the topic is due to the absence in the European theory of melody (“melos”, in the terminology by B. Asafiev) of the national-characteristic component. The study of the fret-harmonic content of the Chinese melos will partially fill in this gap. The purpose of the study is to reveal the stylistic originality of the Chinese song – on the one hand, and on the other, to discover the fret-harmonic parameters that relate Chinese music to the folklore of other nations. The object of the study is China’s song tradition in the diversity of authentic and modern samples of materials existing in the notation; the subject is the melos of the Chinese folk song in its relations with other principles of intonation. The presentation of the main material. In most of the samples of modern Chinese folk songs, the modal principle of the pitch-high organization, characteristic of folk music and European professional music of the pre-classical period, is combined with the tonal system of European classical music. For example, in “The Shepherd’s Song” exposition, not so much a single tonal center orientation (according to the European classical romantic tradition) was revealed, but rather the basis on several equal tones-foundations: h, e, a and d. If the fret-harmonic content of the entry is to be viewed from the angle of modality, then the fret structure of this tune turns out to be a mixed diatonics, combining the scale of the Ionian frets from c and the Dorian frets from d with the step rising in cadence VII, and from the point of view of the tonal principle of the pitch-high organization – as a movement from the tone C-dur to the tone d-moll. In song 15, the modal principle of the pitch-high organization is absent, although elements of the modality can be heard due to the use of side triads and seventh chords. With all the variety of melodic and rhythmic formulas, genre semantics, it is precisely the fret-harmonic content of selected song samples that reveals the general principles of the pitch-high organization. This is the archaic diatonic, based on the frets of the traditional musical cultures of the world; modal principle; European functional harmonic system; elements of the extended tonality from the experience of the music of the turn of the 19th and 20th centuries. Their interaction constitutes the fret-harmonic specificity of the Chinese folk song tradition. The harmonization of the melodies selected as the material differs from the original by the presence of authorship; the fret-harmonic content, first of all, serves as its embodiment. Conclusion. Composers – authors of the modern arrangement of authentic melodies – are in search of an organic synthesis of various pitch-high systems and principles of organization. Among the main ones there is the archaic diatonics, based on the frets of the traditional musical cultures of the world; the modal principle; European functional harmonic system; the elements of an extended tonality borrowed from the experience of the music of the turn of the 19th and 20th centuries. By the nature of the interaction of the components the analyzed samples of Chinese melodies can be divided into several groups: 1) the songs in which the modal principle of the pitch-high organization prevails over the tone-functional one; 2) the songs, where both of these principles act simultaneously: for example, modal elements arise on a tonal basis; or on a modal basis – orientation to a single tonal center; 3) the cases in which the tonal-functional principle in melodies unambiguously prevails over the modal one; 4) the songs in which these principles “divide the spheres of influence”, acting in different sections of the form; 5) the samples of songs where the modal and tonal principles are in the organic unity, and they are not separated in time and do not suppress each other. Thus, the Chinese folklore material can be perceived by the ear, brought up in other musical traditions, quite adequately thanks to the reliance on the pitch-high systems that are universal for all musical cultures.

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46

Wang, Duangui. "The fret-harmonic content of the Chinese melos (on the example of samples for the voice and piano in the modern arrangement)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 100–114. http://dx.doi.org/10.34064/khnum1-49.07.

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Formulation of the problem. The present article is devoted to the mental differences of the Chinese song tradition and analyzed the peculiarities of fret structures upon harmonizing the melody by modern authors. The musical stylistics of the Chinese folk song is based on the synthesis of the intonation (melodic, fret and rhythmic) features of traditional Chinese music with the lexemes of European classical music. Its content reveals the analysis of a major-minor functional system, qualitative (bar) rhythmics, containing genre formulas and techniques of the textural presentation (various forms of polyphony). The purpose of the article is to reveal the stylistic originality of the Chinese song – on the one hand; and on the other hand, to reveal the fret-harmonic features relating Chinese music with the folklore of other nations. For the European ear, the fret-harmonic originality of the Chinese melos, in addition to pentatonics, is marked by synthesizing various elements of the systems of the pitch-high organization which have set in the history of European music: archaic, modal, and tonal-functional. The relevance of the topic is due to the absence in the European theory of melody (“melos”, in the terminology by B. Asafiev) of the national-characteristic component. The study of the fret-harmonic content of the Chinese melos will partially fill in this gap. The purpose of the study is to reveal the stylistic originality of the Chinese song – on the one hand, and on the other, to discover the fret-harmonic parameters that relate Chinese music to the folklore of other nations. The object of the study is China’s song tradition in the diversity of authentic and modern samples of materials existing in the notation; the subject is the melos of the Chinese folk song in its relations with other principles of intonation. The presentation of the main material. In most of the samples of modern Chinese folk songs, the modal principle of the pitch-high organization, characteristic of folk music and European professional music of the pre-classical period, is combined with the tonal system of European classical music. For example, in “The Shepherd’s Song” exposition, not so much a single tonal center orientation (according to the European classical romantic tradition) was revealed, but rather the basis on several equal tones-foundations: h, e, a and d. If the fret-harmonic content of the entry is to be viewed from the angle of modality, then the fret structure of this tune turns out to be a mixed diatonics, combining the scale of the Ionian frets from c and the Dorian frets from d with the step rising in cadence VII, and from the point of view of the tonal principle of the pitch-high organization – as a movement from the tone C-dur to the tone d-moll. In song 15, the modal principle of the pitch-high organization is absent, although elements of the modality can be heard due to the use of side triads and seventh chords. With all the variety of melodic and rhythmic formulas, genre semantics, it is precisely the fret-harmonic content of selected song samples that reveals the general principles of the pitch-high organization. This is the archaic diatonic, based on the frets of the traditional musical cultures of the world; modal principle; European functional harmonic system; elements of the extended tonality from the experience of the music of the turn of the 19th and 20th centuries. Their interaction constitutes the fret-harmonic specificity of the Chinese folk song tradition. The harmonization of the melodies selected as the material differs from the original by the presence of authorship; the fret-harmonic content, first of all, serves as its embodiment. Conclusion. Composers – authors of the modern arrangement of authentic melodies – are in search of an organic synthesis of various pitch-high systems and principles of organization. Among the main ones there is the archaic diatonics, based on the frets of the traditional musical cultures of the world; the modal principle; European functional harmonic system; the elements of an extended tonality borrowed from the experience of the music of the turn of the 19th and 20th centuries. By the nature of the interaction of the components the analyzed samples of Chinese melodies can be divided into several groups: 1) the songs in which the modal principle of the pitch-high organization prevails over the tone-functional one; 2) the songs, where both of these principles act simultaneously: for example, modal elements arise on a tonal basis; or on a modal basis – orientation to a single tonal center; 3) the cases in which the tonal-functional principle in melodies unambiguously prevails over the modal one; 4) the songs in which these principles “divide the spheres of influence”, acting in different sections of the form; 5) the samples of songs where the modal and tonal principles are in the organic unity, and they are not separated in time and do not suppress each other. Thus, the Chinese folklore material can be perceived by the ear, brought up in other musical traditions, quite adequately thanks to the reliance on the pitch-high systems that are universal for all musical cultures.

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Zhang, Ling. "The genre of folk song arrangement at the present stage: cultural and historical aspect." Aspects of Historical Musicology 19, no. 19 (2020): 298–312. http://dx.doi.org/10.34064/khnum2-19.17.

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Logical reason for research. Folk song arrangement used to occupy and still occupies a prominent place in musical practice, both in the composing one and the performing one. It combines the best, time-tested features of the folk music tradition and professional musical art. Being a genre, which is synthetic in nature, the arrangement of a folk song carries a complex set of characteristics of different types of musical creativity, which, activating different genre indicators in different historical and cultural conditions, allows this genre to occupy a special place in musical culture. The focus on a wide audience, realized at different levels of the genre, determines its external intonation-figurative, as well as performing simplicity and accessibility. At the same time, in the field of musical theory, the genre of folk song arrangement has not been given sufficient special attention either in the aspect of the peculiarities of this genre as such, or in terms of the peculiarities of its development in certain temporary socio-cultural conditions. According to the author of the present article, it is precisely the combination of these perspectives of research that is a fruitful approach to identify the specifics of the genre of folk song arrangement, in particular, in the historical and cultural aspect. Innovation. The present article is devoted to the genre of folk song arrangement in the aspect of historical development on the example of the musical culture of Ukraine and China. The genre of folk song arrangement as a result of the interaction of traditional and professional musical art has its own intonation-musical, figurativemeaningful and performing specificity. It manifests itself in stable genre indicators, providing the genre of folk song arrangement with vitality and recognition in various historical, temporal and cultural conditions. For the first time, we propose a comparative characteristic of the history of the development of the genre of folk song arrangement in Ukraine and China, on the basis of which it can be argued that differences in the ways of the development of this genre do not affect the genre nature, which has theoretical and practical (namely, the performing one) dimensions. Objectives. The purpose of the presented research is to reveal the specifics of the historical development of the folk song arrangement genre on the basis of comparing the conditions of interaction between the traditional and professional musical culture of Ukraine and China. In this regard, the following scientific tasks arise: a review of scientific sources devoted to the Ukrainian and Chinese folk song in the aspect of the study of the genre of arrangement; the identification of the ratio of the traditional and professional approach in the genre of folk song arrangement; a comparative characteristic of the main directions of the development of the genre of folk song arrangement in Ukraine and China from the early recorded data of the modern musical practice. Methods. The main methods of our research are the genre one and the historical one. The genre method is necessary to identify the main genre constants of folk song arrangement, which preserve the specificity of the present genre in various historical, temporal and cultural conditions. The historical method is associated with regulating information about the evolution of the folk song arrangement genre in the time perspective from the beginning of the interaction of traditional and professional music to the modern existence of the genre. Results of Discussion. A rather voluminous baggage of facts related to the arrangement of folk songs in the existing musicological sources often remains just a sum of facts. Quite a lot of research has been devoted to folk music and folk song as one of its main representatives, both in a historical and theoretical way. These are scientific works of different genres – from articles to dissertations. As a separate genre, the arrangement of folk songs has not received comprehensive coverage in individual scientific works, although the study of specific samples of arrangements of folk songs in the conditions of the composing or performing creativity is represented quite widely. As a rule, in studies devoted to the genre of folk song arrangement, the object is the arrangement of a folk song in the creative work of a particular composer or in the field of performance – for example, in relation to Ukrainian musical culture, one can talk about bandura performance, the activities of certain musical groups of varying degrees and directions of professionalism – from amateur to academic. As for Chinese musical culture, the representative of which the author of the present article is, Chinese musicologists pay more attention to the history of Chinese folk song, its collection, recording and influence on the professional creative work of Chinese composers – from chamber-vocal to instrumental creativity. Thus, the lack of a systematic study of folk song arrangement as a genre makes such a study very perspective. Considering that modern musicology involves genre, stylistic, figurative, national-cultural parameters in the field of scientific research, the study of the genre of folk song arrangement seems to be quite rich both in terms of problems and in terms of predicted results. The cultural and historical aspect of the study, associated with understanding the patterns of the development of any musical genre at different stages of history in different cultural and civilizational conditions, is one of the basic ones in science. In the present article, it is based on a comparative characteristic of the development of the genre of folk song arrangement in Ukrainian and Chinese musical culture. Conclusions. The result of the study is the conclusion that the genre of folk song arrangement, owing to its synthetic nature, has special genre qualities, which in various historical and cultural conditions allowed it to retain its specificity for several centuries up to the present day. The comparative characteristic of the history of the development of the folk song arrangement genre in Ukraine and China allows concluding that the differences in the ways of the development of this genre (the history of the development of professional musical art, the differences in the ways of interaction between traditional and professional musical culture and, accordingly, the peculiarities of the compositional arrangement of folklore primary sources) do not change its specificity, which has both theoretical and practical (in particular, the performing one) dimensions. The prospects for further research in this direction are associated with: the characteristic of the synthetic genre nature of folk song arrangement; with the peculiarities of the historical development of the folk song arrangement genre in different time and national-cultural conditions; with the identification of the role of the genre of folk song arrangement in musical practice (both the composing one and the performing one) at different historical stages of the development of musical art in different countries of the world.

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Xue, Lili, and Asst Prof Dr Pranote Meeson. "Online Teaching of Chinese Folk Songs by Chinese Students from Phadungkiwitthaya School, Bangkok, Thailand." Journal of International Education and Development 6, no. 6 (2022): 71–78. http://dx.doi.org/10.47297/wspiedwsp2516-250016.20220606.

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49

Guo, Junyao, and Dickson K. W. Chiu. "Investigation into the Promotion and Instruction of Chinese Traditional Music in Liaocheng Peiwen School of Peking University." SHS Web of Conferences 183 (2024): 03011. http://dx.doi.org/10.1051/shsconf/202418303011.

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This research investigates the promotion and instruction of Chinese Traditional music in Liaocheng Peiwen School of Peking University. The first author, an alum with a decade of pedagogical experience, examined the challenges faced by private schools in providing tailored regulatory frameworks for Chinese Traditional music education. We share practical experience, drawing on the successful establishment of the school-based course "Chinese Folk Music and Geography." As the course is offered each year during the geography exam for students in their second year of junior high school, singing folk songs while learning geography enables students to explore China's beautiful landscapes while broadening their horizons. Students can understand the connection between folk music and geography, assisting their preparation for the exam.

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50

Rakitina, M. "IMAGE AND SYMBOLIC COMPONENT OF THE LINGUOCULTURAL CONCEPT LOVE (ON THE MATERIAL OF CHINESE FOLK SONGS "SHIZING")." National Association of Scientists 1, no. 33(60) (2020): 43–45. http://dx.doi.org/10.31618/nas.2413-5291.2020.1.60.300.

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This article focuses on the figurative and symbolic components of linguocultural concept of LOVE based on the folk songs of ‘Shijing’. The study of this particular concept is valuable for identifying the key features of the Chinese ethnic community mindset.

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Journal articles on the topic 'Folk songs, Chinese'

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