The Exploration of Contemporary Chinese Art and Music Creation: The Organic Integration of Socialization of Works' Destiny and Modernization of Creative Techniques
——Summary of Miscellaneous Thoughts and Techniques in the Creation of the "Series" Chamber Music Work"Elegy 2020"

Fan Zheming

Abstract

This article takes the creative ideas of the author's two "series" chamber music works "Elegy -2020 I" and "Elegy -2020 II" as the topic, and elaborates and demonstrates the experience and specific application of contemporary Chinese art and music creation from the perspectives of creative concepts and techniques. In terms of creative concepts, the author gave a brief evaluation of the current situation of "Chinese characteristic"modern art music, and put forward personal opinions and suggestions on how to further consolidate and develop this art variety. In terms of creative techniques, the author listed the pitch organization design and the relationship between materials and structure, form and content in his two works, with the intention of using this as an empirical evidence to support his personal understanding of modern art music creation and teaching.

Key words

modern art music; creation concepts; creation techniques; modernity; core pitch organization; interval collection

Dormancy and Gallop: Yang Yinliu's Southwest Years

Zhang Zhentao

Abstract

The Outline of Chinese Music History and Introduction to National Music left by Yang Yinliu during his dormant period in the southwest were not only groundbreaking works in two historical and rhythmic studies, but also highly concentrated rebellious actions of literati academic behavior under the conditions of fragmented mountains and rivers, difficulties and hardships. His grand treatise The Future of National Music and Its Research,with a broad vision and a solitary purpose, had become a brilliant document of the 20th century. The war had triggered many incredible things, and the poor conditions could not stop the wandering and academic pursuits, and the refuge and seclusion could not stop the contemplation and connection for thousands of years. In the past, his southwest chronicles were rare, but with the increasing exposure of historical materials such as Kunming Cheng Gong Jie, oral memories, letter documents, photos and music scores, and literature emerged one after another, providing a large amount of details to glimpse this disappearing trace. This was also the period when he made the most extensive acquaintance with social celebrities, including professors from various schools in Southwest China,officials from government agencies, outstanding literati, and ambitious students. Inside and outside the circle, there was a wide range of social interactions, and wisdom and mutual benefit had profound implications.

Key words

Yang Yinliu; the southwest times; representative works

A Review of the Research on Yue in the Past 100 Years

Wang Xiaojun & Wang Ya

Abstract

In the past 100 years, the research on Yue has gone through three important periods as a whole. From 1930 onwards, Guo Moruo and other paleographers have used oracle bone inscriptions and gold inscriptions to explain the character "Yue", inferring that Yue is an ancient wind instrument, and thus refuting the Han Dynasty tradition of "Yue was like a flute" that lasted for more than two thousand years. By the 1980s, musicologists had re-examined previous research and referred to archaeological achievements in music, proposing insights such as "Yue changed from a braided tube to a single tube" and "Yue was a mouthpiece flute". In 1996, Liu Zhengguo revealed the research misconception of paleographers in interpreting the shape of musical instruments through multiple evidence such as unearthed cultural relics, folk relics, textual research, and character explanation. He reiterated that Yue was a single tube form and proposed innovations such as "the bone wind instrument unearthed from Jiahu was Yue", "the oblique blowing of ancient Yue", and"Yue was the ancestor of flute". Looking back at the complex academic history of the study of Yue over the past century and reflecting on the gains and losses of related research, it is beneficial for the continuous advancement of research and the contemporary rectification of Yue.

Key words

Yue; Yue; oblique blowing; Jiahu bone flute; academic history; wind instruments; history of Chinese music

A Study on the Relationship between Music and Lyrics in the Ya Yue in the Ming Dynasty——Centered on Li Zhizao's "Pan Gong Li Yue Shu"

Song Xinyi

Abstract

Ya Yue, as the ontology of music and as the movement of lyrics, constituted the functional music used in ceremonies in the Ming Dynasty. Therefore,the Ya Yue movements in the Ming Dynasty had the characteristics of music literature. For a long time, the academic community has equated the relationship between the music and lyrics of the Ming Dynasty's Ya Yue with one word and one tone, which deviates from the discussion of Ya Yue by the Ming people and does not fully conform to the music situation marked by the Ming Dynasty's Ya Yue music scores. The "Pan Gong Li Yue Shu" was written for Confucian students and other beginners, based on the Ya Yue performed in the Ming Dynasty's Shenyueguan. Compared to the Lu Lu Zi Pu, it presented more musical information, with the aim of relatively standardized and meticulous inheritance of national Ya Yue to the state and county levels. As can be seen from the records, the single character singing of Ding Ji Ya Yue's lyrics uses the method of using the thirteen character technique of qin and se as the rhythm method, and there is also a relatively stable coordination between the lyrics in the phrases.Both the single character and the phrases present the richness of the music itself. With the revival of the study of Li and the increasing demand for teaching of Li and music, the Ming Dynasty's Ya Yue score gradually developed towards a trend of clear and popular labeling. Exploring relevant music scores is not only conducive to the exploration and restoration of Ming and Qing Ya Yue, but also provides a new perspective for the issues of songs and poetry, sound and lyrics in Ming Dynasty literature.

Key words

Ya Yue in the Ming Dynasty; Ya Yue lyrics; relationship between tunes and lyrics; “Pan Gong Li Yue Shu”

Exploration of the Formation and Contribution of Miao Tianrui's Aesthetic Thought on Music

Wang Yang

Abstract

As an important representative figure in the transformation process of modern Chinese music aesthetics, Miao Tianrui had always embraced and absorbed Western music aesthetics ideas with a proactive attitude. His 16 articles and translated works on music aesthetics not only keenly grasp the development of Western music aesthetics, but also continuously present and improve his own music aesthetics ideas. They use music ontology as the starting point for music aesthetics thinking and use psychological music aesthetics to reconcile the differences between formal music aesthetics and content music aesthetics. At the same time, they also established his historical position as one of the founders of the Chinese music aesthetics discipline.

Key words

Miao Tianrui; the aesthetic ideas of music; footprints; founder; historical status

Does Music Have a Reappearance Function—— An Examination and Analysis of the Theory of Analytical Aesthetics in Music Reappearance

Wang Wenzhuo

Abstract

The theory of music reappearance is a fundamental topic in analytical aesthetics. On the issue of whether music has a reappearance function,analytical aesthetics cannot reach a consensus. Some scholars, based on the theory of self-discipline, deny that music has a reproducing function,with representative scholars being Davis and Scruton; Another group of scholars, based on fusionism, believe that music has a reproducing function, with representative scholars being Kivi and Ridley. The theory of music reappearance is a historical topic, and the exploration and debate of aesthetic analysis have important theoretical significance. This paper discusses its shortcomings and contemporary significance on the basis of an overall survey of the music reappearance theory of analytical aesthetics.

Key words

analytical aesthetics; music reappearance theory; fusionism

Examining the Relationship between Film and Society:Xia Yan's Cognition and Acceptance of European and American Films (1930-1949)

Wang Qingfu & Gong Li

Abstract

From the Left-Wing period to the early stage of the founding of the People's Republic of China, Xia Yan's critical discourse on European and American films can be roughly divided into three stages: cautious discrimination, wartime alliance, and strong resistance. As a research method, film sociology has opened up a window for tracing Xia Yan's film criticism activities. The inherent class stance reflects Xia Yan's acceptance of the ideological scale of European and American films, and the "view of truth" is not only a criterion for evaluation, but also generates strategies for adapting to different cultures. Xia Yan's identification with the ideological by-products of European and American films and social fabric had reached a logical consistency. The generation and variation of film criticism discourse is ultimately the result of cultural and political influence. Xia Yan's understanding of European and American films went beyond the scope of the text itself, establishing a paradigm of film sociological criticism at both the content and production levels.

Key words

Xia Yan; film criticism; European and American films; sociology of film

Subordination and Monopoly: American Films in Nanjing in the Mid to Late 1920s

Zhang Kai

Abstract

In the mid to late 1920s, American films showed a dynamic development pattern in the Nanjing film market, from a subordinate position to a monopoly position. Like most mainland cities in China, American films initially failed to meet the needs of the Chinese people due to cultural differences and high rents, thus losing their dominant position in the Nanjing film market. Since 1929, Nanjing audiences' interest in watching movies had turned to "watching stories". American film forces had absolute power in controlling film output, and by monopolizing the differences in commodities, they met the consumption needs of citizens,dominated the Nanjing film market, and had a profound impact on film consumption.

Key words

American films; Nanjing film market; in the mid to late 1920s

Cultural Accumulation and Modal Formation of Chinese Folk Dance (Part 1)

Yu Ping & Ye Di

AbstractThe study of the "modal composition" of Chinese folk dance refers to the macro and meso grasp of previous studies on "natural dance". We will also analyze and study the micro elements that determine the "modal composition". Based on the cognitive thinking of macro, meso, and micro,part 1 of this article, from the World Dance Pattern and “Dance World”Mode, Dance Mode Composition in the Pattern of Chinese Dance to "Yunnan Classification" of National and Folk Dance Mode Composition and "Tibetan Style" of National and Folk Dance Mode Composition, makes a sorting of the logical connection between the middle and micro grasp of part 2 and part 3.

Key words

Chinese folk dance; modal composition; dance mode; Yunnan ethnic folk dance; Tibetan folk dance

The Academic Pattern of Chinese Music Historiography Drawing on History
——Thoughts on the Issues of Chinese Music Historiography (Part II)

Tian Kewen

Abstract

Historiography is a discipline that focuses on the study of human history. In the early 20th century, the study of music history in China was also guided by Darwin's "theory of evolution" to develop the academic model of music history, requiring the breaking of the traditional Chinese historical model.During the Republic of China period, the history of Chinese music was largely influenced by the empirical historiography represented by Hu Shi,especially the "ancient history discrimination" school represented by Gu Jiegang. Since the 1980s, the theories and methods of Western history have flooded into China, exerting significant influence on Chinese history.Western music history has also had a significant impact on Chinese music history. Our research on the history of Chinese music should pay more attention to the research methods of "grand history", but it is different from the research methods of history.

Key words

history; academic model; draw on the experience of; history of Chinese music; research method