The role of the Chinese piano school in the formation of the Chinese piano art

https://doi.org/10.21744/lingcure.v5nS4.1548

Authors

Keywords:

creativity, culture, instrument, learning, music education

Abstract

The relevance of the study is that the integrative role of compulsory piano learning in music education acquires the knowledge and skills of conscious work, which is considered the mainstream of the formation of the art of pianism in China. Most of it is conducted and implemented in territorially different environments of music schools to acquire knowledge, themes of perception of musical text, recognizing the degree of use of inherent potential of additional piano features related to increasing the effectiveness of learning activities. In the context of piano schools, a large number of students perceive the subject only as a hobby. For them, these measures are often reduced to the implementation of appropriate programmes. The piano, like any other subject, develops musicality and promotes reflection on the music piece. For some, the musical art of pianism acts as the only way to stimulate the harmonious imagination through which it is possible to learn to listen to chords. The piano is a unique source of inspiration for further musical development. The aim of the study is to reveal and examine the role of the Chinese piano school in the formation of Chinese art of pianism.

Downloads

Download data is not yet available.

References

Alkon, E. (2002). Musical thinking of the East and West, continual and discrete. Vladivostok: Far Eastern State Academy of Arts.

Baisheng, D. (2008). Research on Chinese style in foreign piano music works. Art Exploration, 5, 309-317.

Banner, J. M., & Cannon, H. C. (2018). The elements of the teaching. New Haven: Yale University Press.

Bauer, W. I., & Dammers, R. J. (2016). Technology in music teacher education: A national survey. Research Perspectives in Music Education, 18(1), 2-15.

Beghetto, R. A. (2007). Does creativity have a place in classroom discussions? Prospective teachers’ response preferences. Thinking skills and creativity, 2(1), 1-9. https://doi.org/10.1016/j.tsc.2006.09.002

Buysse, D. J., Reynolds III, C. F., Monk, T. H., Berman, S. R., & Kupfer, D. J. (1989). The Pittsburgh Sleep Quality Index: a new instrument for psychiatric practice and research. Psychiatry research, 28(2), 193-213. https://doi.org/10.1016/0165-1781(89)90047-4

Cipresso, P., Giglioli, I. A. C., Raya, M. A., & Riva, G. (2018). The past, present, and future of virtual and augmented reality research: A network and cluster analysis of the literature.

Cook, M. J. (2019). Augmented reality: Examining its value in a music technology classroom. Practice and potential. Waikato Journal of Education, 24(2), 23-38.

Cooper, M. D. (2000). Towards a model of safety culture. Safety science, 36(2), 111-136. https://doi.org/10.1016/S0925-7535(00)00035-7

Daojin, T. M. (2019). Analysis and performance of Chinese piano works. Beijing: People’s Music Publishing House.

Ding, Y. (2016). Formation of musical culture of junior pupils in the process of piano training in art extracurricular educational establishments. Kyiv: National Pedagogical Dragomanov University.

Elliott, D., & Silverman, M. (2015). Music matters: A philosophy of music education, 2? nd.

Fong, C. E., & Jelas, Z. M. (2010). Music education for children with autism in Malaysia. Procedia-Social and Behavioral Sciences, 9, 70-75. https://doi.org/10.1016/j.sbspro.2010.12.117

Fumin, F. (2019). Fulei’s opinion on music. Hunan: Hunan Literature and Art Publishing House.

Ginaya, G., Kanca, I. N., & Sri Astuti, N. N. (2021). Collaborative network learning (CNL) on students’ online learning. International Journal of Linguistics, Literature and Culture, 7(5), 362-370.

Hailin, X., & Xiaoping, L. (2019). General theory of music and aesthetics. Shanghai: Press of Shanghai Conservatory of Music.

Hedegaard, M. (2014). The significance of demands and motives across practices in children's learning and development: An analysis of learning in home and school. Learning, culture and social interaction, 3(3), 188-194. https://doi.org/10.1016/j.lcsi.2014.02.008

Izard, C. E. (1991). The psychology of emotions. Berlin: Springer.

Jianhua, G. (2020). Chinese music education and world music education at the turn of the century. Nanjing: Press of Nanjing Normal University.

Jun, Q. (2007). On the nationality of Chinese piano music from the perspective of music anthropology. Music Exploration, 4, 96-101.

Lewalter, D. (2003). Cognitive strategies for learning from static and dynamic visuals. Learning and Instruction, 13(2), 177-189. https://doi.org/10.1016/S0959-4752(02)00019-1

Lysenko, Y., Korotenko, D., Martynyuk, T., Tkachenko, O., & Vlasenko, E. (2021). Interdisciplinary communication in pianists’ education: experience from M. Hlinka Dnipropetrovsk academy of music. Linguistics and Culture Review, 5(S2), 514-521.

Maslow, A. H. (1970). Motivation and Personality, New York, 2.

Meng, B. (2018). Formation and development of Chinese piano culture. Beijing: Huale Press.

Nyandra, M., Kartiko, B.H., Susanto, P.C., Supriyati, A., Suryasa, W. (2018). Education and training improve quality of life and decrease depression score in elderly population. Eurasian Journal of Analytical Chemistry, 13(2), 371-377.

Panagiotakou, C., & Pange, J. (2010). The use of ICT in preschool music education. Procedia-Social and Behavioral Sciences, 2(2), 3055-3059. https://doi.org/10.1016/j.sbspro.2010.03.464

Rolinska, H. H. (2021). Using project method for the purpose of educating future music teachers. Linguistics and Culture Review, 5(S2), 387-400.

Runco, M. A., & Beghetto, R. A. (2019). Primary and secondary creativity. Current Opinion in Behavioral Sciences, 27, 7-10. https://doi.org/10.1016/j.cobeha.2018.08.011

Soares, A. M., Farhangmehr, M., & Shoham, A. (2007). Hofstede's dimensions of culture in international marketing studies. Journal of business research, 60(3), 277-284. https://doi.org/10.1016/j.jbusres.2006.10.018

Wang, C. (2008). Review of research hotspot about the piano teaching in normal colleges in the 21st century. China Music Education, 8, 22-31.

Widanta, I. R. J., Sitawati, A. R., Aryana, I. R., & Ardika, I. D. (2016). Learning center with self-directed learning: a foundation for TOEFL learning activity. International Journal of Linguistics, Literature and Culture, 2(4), 64-71.

Xu, B., & Ma, D. (2007). The general situation and expectation of the development of Chinese normal college’s music education. People’s Music, 3, 88-95.

Zaza, S., Wright-De Agüero, L. K., Briss, P. A., Truman, B. I., Hopkins, D. P., Hennessy, M. H., ... & Task Force on Community Preventive Services. (2000). Data collection instrument and procedure for systematic reviews in the Guide to Community Preventive Services. American journal of preventive medicine, 18(1), 44-74. https://doi.org/10.1016/S0749-3797(99)00122-1

Zhao, X. (2018). Methods of piano performance. Shanghai: Shanghai Music Publishing House.

Zheng, Q. (2021). The centennial course of Chinese piano music. Transactions on Comparative Education, 3, 9-13.

Published

2021-10-22

How to Cite

Yiran, F. (2021). The role of the Chinese piano school in the formation of the Chinese piano art. Linguistics and Culture Review, 5(S4), 44-55. https://doi.org/10.21744/lingcure.v5nS4.1548

Issue

Section

Research Articles