How can the ″Chinese school of music″ be jointly constructed﹖ It should not be established, but rather ″constructed″. This idea of constructing a school of music results from the extension, in the current humanis...How can the ″Chinese school of music″ be jointly constructed﹖ It should not be established, but rather ″constructed″. This idea of constructing a school of music results from the extension, in the current humanistic background, of the concept for ″school of music″ which was raised by such pioneering musicians as Xiao Youmei, Ma Sicong and Xian Xinghai in last century. What kind of school of music is to be constructed﹖ Whether it is a semi-completed one, a disintegrated one, a short-life one, or a complete and long-standing one﹖ Disparity dose exist in understanding the concept of ″school of music″. Why not let it be there if it does not influence the strategy of constructing practice﹖ But if it does, then it is better to make a clear distinction as early as possible. According to European practice, a particular ″school of music″ should contain the following three aspects: 1 representative works 2 a group of composers behind these representative works and 3 recognition of these composers’ representative works by critics of other nations. Such a school of music, just like a bunch of collected flowers, rather than clusters of flowers growing up in a garden, has a limited space of existence, and is passive in the first place. But when we turn to discuss the issue of constructing a school of music at the beginning of this new century, it is necessary to stress both the subjective self-consciousness or initiative of a culture, but also the profound soil for the roots or extensiveness. Although some scholars disagree to the present concept of ″school of music″ that contains the roots where it relies on, they do acknowledge that such foundations are indispensable. Such an opinion thus has something in common with the strategy of constructing the ″Four Pillars″. The Four Pillars, from a macrocosmic perspective, refer to the four major aspects in the ″Chinese school of music″: theory, education, performance and composition. In this new century, with the g展开更多
文摘How can the ″Chinese school of music″ be jointly constructed﹖ It should not be established, but rather ″constructed″. This idea of constructing a school of music results from the extension, in the current humanistic background, of the concept for ″school of music″ which was raised by such pioneering musicians as Xiao Youmei, Ma Sicong and Xian Xinghai in last century. What kind of school of music is to be constructed﹖ Whether it is a semi-completed one, a disintegrated one, a short-life one, or a complete and long-standing one﹖ Disparity dose exist in understanding the concept of ″school of music″. Why not let it be there if it does not influence the strategy of constructing practice﹖ But if it does, then it is better to make a clear distinction as early as possible. According to European practice, a particular ″school of music″ should contain the following three aspects: 1 representative works 2 a group of composers behind these representative works and 3 recognition of these composers’ representative works by critics of other nations. Such a school of music, just like a bunch of collected flowers, rather than clusters of flowers growing up in a garden, has a limited space of existence, and is passive in the first place. But when we turn to discuss the issue of constructing a school of music at the beginning of this new century, it is necessary to stress both the subjective self-consciousness or initiative of a culture, but also the profound soil for the roots or extensiveness. Although some scholars disagree to the present concept of ″school of music″ that contains the roots where it relies on, they do acknowledge that such foundations are indispensable. Such an opinion thus has something in common with the strategy of constructing the ″Four Pillars″. The Four Pillars, from a macrocosmic perspective, refer to the four major aspects in the ″Chinese school of music″: theory, education, performance and composition. In this new century, with the g
