scholarly journals Research on the Importance of Chinese Traditional Music Education in the Process of Higher Vocational Aesthetic Education Based on Computer-aided

2020 ◽  
Vol 1648 ◽  
pp. 022058
Author(s):  
Feng Hou
2020 ◽  
Vol 4 (2) ◽  
pp. 35-39
Author(s):  
Chenghai Yang

In the pre-Qin period, Confucius proposed six subjects namely the etiquette, music, archery, driving, literacy, and calculation. Among the six subjects, music was ranked the second. Among them, traditional education in China can fully reflect the importance of music education, and the essence and core of music education can be reflected from the requirements of aesthetic education. In recent years, with the continuous development and improvement of production and life, the theme of education in today's society has changed, and quality education is the center and focus of education today. Moreover, people begin to focus on how to inherit and publicize the traditional music culture. As the music culture is of great importance, many people are encouraged to continue to practice and publicize the traditional music. The main point of this article is Confucian theory of music education.


2020 ◽  
Vol 4 (2) ◽  
pp. 24
Author(s):  
Zhou Yu

Innovative integration is the development trend of education reform in recent years. Teachers can try to promote the high integration of aesthetic education and moral education from the establishment of music studios, and form a “three-in-one” education and education integration mechanism of classroom teaching, extracurricular activities, and campus culture construction, so as to inherit and innovate the outstanding Chinese traditional music culture and red music culture, and explore the necessity and feasibility of the complementary and integrated development between aesthetic education and moral education.Under the background that the country attaches great importance to inheriting and developing the excellent Chinese traditional culture, taking the integration of music education into college students’ moral education as the starting point, exploring the effective ways of vocal music, instrumental music, opera, Chinese folk art, dance, rap and other artistic works to cultivate national builders and successors who have comprehensive development of moral, intellectual, physical, aesthetic, and labor will be definitely to improve the humanistic quality of university and college students, which promotes the Chinese excellent traditional music culture and red music culture, trains college music talents, etc., and promotes the integration and development of large, medium and small aesthetic education and moral education.


Author(s):  
Hui Hong ◽  
Weisheng Luo

Wang Guowei, a famous scholar and thinker in our country, thinks that “aesthetic education harmonizes people's feelings in the process of emotional music education, so as to achieve the perfect domain”, “aesthetic education is also emotional education”. Therefore, in the process of music education, emotional education plays an important role in middle school music teaching, and it is also the highest and most beautiful realm in the process of music education in music teaching. Music teachers should be good at using appropriate teaching methods and means. In the process of music education, they should lead students into the emotional world, knock on their hearts with the beauty of music, and touch their heartstrings. Only when students' hearts are close to music in the process of music education, can they truly experience the charm of music and realize the true meaning of music in the process of music education. Only in this way can music classes be effectively implemented The purpose of classroom emotion teaching.


Author(s):  
Marina Gall

In this chapter, adopting an autobiographical perspective, I reflect upon the use of music technology within English school classrooms during the last 50 years. The chapter illustrates that this has become so important—particularly for creative work—that formal music technology examination syllabi for older students now exist alongside courses that focus on “traditional” music skills. The chapter also discusses the less positive position of information communications technology within the music curricula for primary school children and secondary students aged 11–14, and offers thoughts on the future of music technology within the English education system. As a backdrop to the discussion the chapter presents a short reflection on music technological developments in society during the twentieth and twenty-first centuries. The chapter also includes the perspectives of music educators from a wide range of European countries, during the period 2008–2011, on the position of music technology within their own educational contexts.


Author(s):  
Kensho Takeshi

The research topic deals with the development of a music education on fundamental approach of teaching shakuhachi traditional music. The shakuhachi is a Japanese bamboo flute with four finger holes in the front and one thumb hole in the back. It is a very simple instrument and is played without a reed. The purpose of the study is to investigate the extent of the interaction of traditional musical issues on Japanese music education by tracing the new music curriculum in 2019. The topic of this study is the development of a fundamental approach of teaching Japanese traditional music. The author demonstrates a basic shakuhachi training method using two to five tones in Japanese traditional children's songs, and Japanese warabeuta (traditional children's songs) and minyo (folk songs). Students study how to make sound, then they play a simple piece. Also, they will be able to study Japanese cultural background through to shakuhachi.


2018 ◽  
Vol 32 (1) ◽  
pp. 18-22
Author(s):  
Megan Lam

This article discusses how the scarcity of female representation in music history curriculums, music textbooks, and traditional classical music repertoire affects student aspirations for professional careers in music and the way in which students relate to the music. The role of political issues and social movements in the classroom, such as those concerning gender issues, remains a controversial issue. However, it is also evidently a critical aspect in better understanding and re-creating the context for women in music. This article seeks to provoke discussion surrounding traditional music curricula in the vast disparity between male and female figures in music education and to encourage continual refinement of modern classical music curricula to present a more comprehensive view of music and music history.


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