Chapter VII Conclusion Discussion and Suggestion
3. Suggestion
In more recent millenarian, perhaps humans have become so accustomed to background music accompanying various activities that they are unaware of it as having any particular
177 purpose and no scientific basis. It has been my contention that the perception of musical form has always and will always serve to arouse emotion on a basic level. I would hope that, over time, general music educational standards are raised so that more people will be given the opportunity to be consciously and thoroughly enriched by music through this understanding. But first, a common understanding must be formulated between the musician and non-musician populations
—which is what I have striven to achieve in my teaching.
To sum up, as an important part of the construction of spiritual civilization, folk music has very special significance, can satisfy the people's spiritual and cultural life to a great extent living needs. The development of Chinese singing style education must be rooted in excellent traditional culture make up for short, with the help of local characteristics of quyi constantly charge, constantly update teaching concepts, science Setting up teaching courses and enriching teaching contents in order to better promote Chinese singing style Education, inheritance and development of Chinese culture, in the world's national culture stand tall.
The teachers used new methods and techniques in their music classrooms. The teachers as change-agents gave their support to the curriculum reform. Based on their observations, increasing number of students started to like music class and enjoy music. In a sense, the new music curriculum was more suitable for students’ development. In the long term, the teachers’
support will likely contribute to the success of the music education reform.
Recommendations for Chinese Music Education
Based on the results of this study and the related literature review, there are two implications for Chinese music education: Since teachers spend a significant time with students in the classroom, their perspectives and suggestions should be valued when making education policy. Their recommendations are useful for improving the quality of teaching and students’
experience of learning music.
Recommendations for Future Research
Though Chinese music teachers’ reception of the new music curriculum was positive, there should be more studies conducted about this topic to evaluate the effectiveness of music curriculum reform on teaching and learning. For future study, researchers could replicate this study but with teachers from different provinces of China. Teachers from urban and rural areas may have diverse perspectives toward the new music curriculum. Their suggestions of the new
178 music curriculum could be useful to future music education reform.Music teachers and students are the major subjects of music education reform.
The transforming of music education requires teachers’ commitment and support Understanding music teachers’ attitudes and perspectives toward music curriculum reform is the essential way of improving the quality of music education in China. The involvement of more students and teachers in the future research will better understand their attitudes and perspectives thereby help the improvement of the new music curriculum reform in the future.
REFERENCES
REFERENCES
Dusadee Swangviboonpong. (2000). Contemporary Thai Music and Musicians a national identity.
46.
Franz, A. (1912). Singing and reading music Impact of development Skills of young students 70.
Gui Zhou, T. r. m. o. t. s.-s. m. t. t. t. o. n. v. m. D. H., P59. (2016). The reference meaning of the sound-singing method to the teaching of national vocal music: Drama House.
Hei Long jiang, T. S. o. t. S. V. M. T. a. t. T. o. t. N. V. M. C. M., P34. (2001). The Study of the State Vocal Music Teaching and the Teaching of the National Vocal Music: Contemporary Music
Hou Jiejie. (1998). On the influence of composing songs on the Development of Chinese National vocal Music in the 1930s. 58.
Ji De. (2016). Some Important Practice Principles in Vocal Music Teaching. 78.
Jin Tao. (2019). Teaching Methods and Curriculum Innovation of National Vocal Education. 90.
Jin Tielin. (2008). Comments and Suggestions on Teaching Materials of National Vocal Music. 90.
Kearley. (1998). Kandie Karen. 70.
Li Hong. (2001). Analysis of Multidimensional Thinking on National Vocal Teaching Based on Multicultural Perspective. 58.
Li Min. (2003). Analysis of Diversification Development of National Vocal Music in China. 48.
Li Xiaoliang. (2003). On the Development of National Vocal Music Teaching in Colleges and Universities from the Perspective of Multiculturalism. 60.
Ling Xue. (2005). The Development of the Teaching of the National Vocal Music in Colleges and Universities in the View of the Multi. 58.
Liu Sheng. (2004). On the Measures of the Reform of Vocal Music Art Teaching. 59.
LiXiao. (2006). How to better teach national vocal music.Shenyang Conservatory of Music.
Shenyang: Liaoning.
Luo Yiqi. (2005). On the Development of National Vocal Music Teaching in Colleges and Universities from the Perspective of Multiculturalism. 70.
Meng Zhuo. (2015). Research on Diversified Vocal Teaching in Colleges and Universities. 56.
Myers Moro. (1988). Pamela Ann, Vocal music participation as Adult avocation. 106.
180 Patrick James Richards. (2012). Vocal Pedagogy at the End of the Twentieth Century: Revealing the
Hidden Instrument. 45.
Qiu Dele. (2016). Thoughts on the Present Situation and Reform of Vocal Music Teaching in Colleges. 34.
Qu Jing. (2016). Using Modern Educational Technology to Explore the Teaching Reform of Vocal Music in Teachers College. 78.
R. Tyler Brinson. (2017). The Solo Vocal Music of Ernani Braga. 45.
Rose and Andrea Margaret. (1990). Vocal Teaching Method and Adolescents,The voice of women singing. 115.
ShenXiang. (1990). Analysis on Cultivation of Emotion and Aesthetic Ability of Music in Vocal Music Teaching. 59.
Shi Weizheng. (1999). On the Integration of Traditional Music Culture in Vocal Music Teaching.
70.
Sibel's (1955). Italian Songs. 79.
Spicker. (1833). Solfeggi. 75.
Sun Pengju. (2008). Discussion now Chinese nationality vocal music multiplex development. 101.
Tang Ling. (2004). On How to Teach National Vocal Music. 80.
Wang Ju. (2006). On the Diversified Development of National Vocal Teaching in Colleges and Universities. 79.
Wu Li. (1997). Study on Diversified Development of National Vocal Teaching in Colleges and Universities. 50.
Wuri na. (2019). The Primary Study of the Original Ecological Folk Singing into the Vocal Education in Colleges and Universities. 59.
Xiao Weidong. (2001). On the Optimal Path of the Teaching System of National Vocal Music in Colleges and Universities under the New Situation. 24.
Xiu Li. (2006). On the Reference of Folk Singing to Beijing Opera Performing Arts. 50.
Xiu Na. (2019). The Ways of Cultivating National Vocal Music Talent under the New Situation. 44.
Xu Deng guang. (2019). Discussion on Cultivation of Middle School Students' Initiative in National Vocal Music Teaching. 57.
Xu Xiaoyi. (1996). Training of the Communist Party of China in the Teaching of National Vocal
181 Music. 58.
Yao Xiaolan. (2018). Discussion on the Training Skills and Singing Points of the Folk Singing Method 59.
Yu Li. (2003). The Aesthetic Characteristics of National Singing. 39.
Zhang Wan. (2004). The Importance of Combining Chinese National Opera Practice with National Vocal Teaching in Colleges and Universities. 79.
Zhang Xinchun. (2016). A Study on Teaching Reform of National Vocal Music Teaching and Stage Practice. 60.
Zheng Qiufang. (2017). On how to optimize the teaching system of national vocal music in colleges and universities. 80.
Zhou xiaoyan. (1990). Vocal Music Teaching Thought and Practice Research. 46.
Appendix
Information person
Figure 13 Interviewer1Cai Meng (https://music.cnu.edu.cn/info/1078/1267.htm) Professor University of Music, Capital normal University Cai Meng:Professor University of Music, Capital normal University
Major experience: graduated from Shan Dong normal University in 1991; master graduate graduated from Capital normal University in 1998 (mentor: professor Wang Anguo;
major: and acoustics and harmony teaching research); Ph.D. graduate graduated from Central Conservatory of Music in 2005 (mentor: professor Liang Mao chun; major: history of music in modern China). Since 1991, She has worked in Shan Dong normal University and Capital normal University. She is currently a professor and doctoral supervisor of the Conservatory of Music, Capital normal University (Modern Chinese Music History, Music Pedagogy).
Teaching-scientific research mainly involves: 1 musicology-based on the research and series of achievements related to the history of music in modern China. Presided over the completion of a project of the Ministry of Culture; presided over the research of a national social science fund art project; presided over the research of a project commissioned by the Ministry of Culture; Preside over a sub-project of a major project of the Central Conservatory of Music. 2 Music technology theory-based on tonal music analysis, teaching, research, published academic
183 papers. 3 Music pedagogy-since 2000, She has been an expert in the development and revision of compulsory Education Music Curriculum Standards and Senior High University Music Curriculum Standards; and presided over the completion of three Ministry of Education projects.
Main academic part-time: member of the second basic Education Curriculum-Teaching material expert working Committee of the Ministry of Education; 2017 National Social Science Fund Art Project demonstration expert; 2017 National Social Science Fund Art subject Conference Evaluation expert; Central Conservatory of Music Institute of Musicology Research Institute " University Humanities and Social Sciences key Research Base" special researcher;
China Music Education Journal editorial Committee.
Figure 14 Interviewer2WangLuping
(http://news.sohu.com/20101020/n276063990.shtml) Chinese-American high-pitched singer He is a Male, born 1959.
1983 Admitted to the Department of Music, Shan Dong Normal University.
1987 Graduated from Department of Music, Shan Dong Normal University.In 1991, he was an opera actor in Shan Dong Opera and Dance Theatre,1992 Admitted to the Central Conservatory of Music Professor Shen Xiang vocal master class (6 people nationwide)
In 1996, he went to the United States to hold concerts and lectures in Chicago, Detroit and St. Louis.
184 In 1993 he was admitted to Professor Shen Xiang's "Music Master Class ".
He was joined the DEPAUL Conservatory of Music in Canada in 1997 and received a full scholarship from the DEPAUL Conservatory of Music in Chicago in Norman Gulbrandsen,1999 years. Under the Gi1-brandson of study, in University to participate in rehearsals and performances of the opera "Ganol of Love"and "Faust"and play a major role, the same year won the Chicago STOKEIN International vocal competition second.
Entered the famous opera performing artist Catherine Malfitano music master class in 2001. participated in many large-scale cultural exchange activities at home and abroad. He won the second place in the 5th Young Singer TV Grand Prix of Shan Dong Province and the second place in the International Stockae Vocal Competition.
In May 2006, he became a professor in Shan Dong Art College and was appointed as a special academic lecture.
In April 1998, Wang Luping, a teacher who pursued the cause of singing, successfully held a solo concert in ShanDong Theatre.
Wang Lu ping sang many famous Chinese and foreign songs with passion, including
"Motherland, Kind Mother ","My River Water ","Stealing Tears ","Drinking Song"and other classic opera passages. In the whole concert, Wang Lu ping magnificent tenor conquered the fans, everyone was so enchanted, and his legendary life experience, but also let people sigh, sincere admiration. The climax of the evening was when Wang Lu ping sang "My Sun ", and the audience applauded with the melody. Wang Lu ping brought the level to the extreme and won the hall.
In recent years, at the invitation of many universities, many vocal master classes have been held in many universities, which not only bring many international advanced Chinese singing style learning methods to many teachers and students, so that Chinese singing style teachers and students can get deep performance practical experience and teaching skills. Now, with the increase of age, Mr. Wang Lu ping is more willing to make more contributions to his hometown, and is willing to teach his life-long study of international advanced Chinese singing style skills to students in their hometown, for them to improve vocal singing skills, further for overseas studies, graduate students and professional Chinese singing style lovers to provide help.
185
Figure 15 Interviewer3.Zhan Li juan Female, member of Beijing Music Association.
In 1977, She majored in Chinese singing style in the Conservatory of Music of Shan Dong normal University and stayed in teaching after graduation. During 1981-1983, She was admitted to the Advanced course of the Department of Sound and songs of Shanghai Conservatory of Music Participated in the first production of the Shanghai Conservatory of Music opera "the wedding of Figaro"in Shanghai and played one of the main roles during the Shang Yin period, and then recorded and broadcast by Shanghai Television. We can be said to be the predecessor of Zhou Xiaoyan Opera Center, and then set up the Opera Center on this basis. In 1991, She was transferred to Beijing to work in a student activity center under the Beijing Municipal Education Committee. Since 1993, She has been hired to offer students' general knowledge courses [appreciation of western opera and musicals] and [appreciation of Chinese and foreign art songs] for Beijing Institute of Technology. At the same time, She has served as a professional judge for admission to specialty students for several years. From 2013 to 2015, She
186 was hired as a director of the University of Music [Opera rehearsal course] of the Central University for nationalities, during which the students were awarded the second and third prize of the National Professional College Opera Segment Competition. There have also been several lectures on opera and musical appreciation for Peking University students. Train several pop singers for record companies. She have also been hired as a judge of various music events many times, and have gone to the United States, Taiwan, Hong Kong and other places to participate in the judges. And music research activities. She have won the first prize of Chinese singing style competition of young teachers in Shan Dong art colleges and universities, the first prize of Chinese singing style competition of art colleges and universities in eight provinces and cities of southeast China, and the second and third prize of Shan Dong young singer TV Grand . Student an Hong won the first prize of Shan Dong Young Singer TV Grand ; CCTV Youth Singer TV Grand second prize; student Dong Wen Hua won the second prize of Young Teachers Chinese singing style Competition in Shan Dong Art College; student Hu Meng xue and Li Wendi won the first and second prize of International Chinese singing style Competition in the United States.