Download pdf
Analysis of the Current Problems and Improvement Methods of Kun Opera Teaching
- 1 Nanjing Normal University
* Author to whom correspondence should be addressed.
Abstract
Chinese opera revival has been advocated for many decades. There are some measures that can prove that, for example: Teaching textbooks always include units with the theme of Chinese opera. Many universities in China have recruited opera major students who are subsidized by the government. In this context, young people as the main power, still prefer to enjoy popular music like Jazz, rap, and ballads than Chinese opera. This article analyzes the factors that make Kun opera unpopular among young people, the existing problems in teaching Kun opera, the necessity of developing new methods for teaching Kun opera. This article has adopted questionnaire survey and observation method to analyze the reasons that make Kun opera unpopular among young people, the problems in teaching Kun opera and the importance of expanding new methods in Kun opera. It finds that most of the existing teaching methods are vocal teaching, which is difficult to study by students. Dependent on multimedia playback data, it is realized that the formal of Guzheng and Guqin in reediting Kun opera is more popular among the public. Guzheng has absolute advantages in multiple dimensions. These all reflect the importance of adding instrumental music to Kun opera teaching. This article advocates teachers to use new methods in teaching Kun opera that are more acceptable to young people. Teachers also use instrumental methods to let students feel changes in the music more intuitively and simply.
Keywords
Kun opera, existing problems, instrumental teaching, Guzheng.
[1]. Yixin Pian. Talent is not innate - Reflections on "The Practice of Talent Development" by Suzuki Town [J]. Chinese Music Education, 2004 (01): 25-27.
[2]. Jingfang Yuan. Ethnic Instrumental Music (Revised Edition) [M]. Higher Education Press, 2004.
[3]. Yingrui Wang. Chinese zither music art in the 20th century [D]. Chinese Academy of Art, 2007.
[4]. Liangyi Fu. Research on the Current Status of Contemporary College Students' Cognition of Opera Art and Suggestions for Inheritance and Development: A Case Study of Tangshan Region. Drama Home, 2019 (25): 12-14.
[5]. Mengjing He. The implantation and online dissemination of Chinese opera in games [D]. Shanghai Conservatory of Music, 2023. DOI:10.27319/d.cnki.gsyyy.2023.000230.
[6]. Tingsen Zhang. Preliminary Exploration of Tango Music [J]. Journal of the PLA Academy of Arts, 2009 (02): 91-93
[7]. Shouming Li. On the Interactive Relationship between Local Language and Local Opera Music [J]. Chinese Musicology, 2007, (04): 77-80. DOI:10.14113/j.cnki.cn11-1316/j.2007.04.013.
[8]. Congming Ding, Zhenlin Ji, Yu Lei, et al. Local Language Diversity and Market Integration: A Perspective from Urban Agglomerations. Economic Research, 2018, 53 (11): 148-164.
[9]. Zedong Mao. Speech at the Yan'an Forum on Literature and Art [J]. Chinese Agricultural Science, 1966 (08): 1-20.
[10]. Zitong Zhang. On the Importance of the Left Hand Technique of "Following the Tone to Create Rhyme" in Guzheng Performance [D]. Shanxi University, 2017.
Cite this article
Xu,M. (2024). Analysis of the Current Problems and Improvement Methods of Kun Opera Teaching. Lecture Notes in Education Psychology and Public Media,70,107-113.
Data availability
The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.
Disclaimer/Publisher's Note
The statements, opinions and data contained in all publications are solely those of the individual author(s) and contributor(s) and not of EWA Publishing and/or the editor(s). EWA Publishing and/or the editor(s) disclaim responsibility for any injury to people or property resulting from any ideas, methods, instructions or products referred to in the content.
About volume
Volume title: Proceedings of the 2nd International Conference on Global Politics and Socio-Humanities
© 2024 by the author(s). Licensee EWA Publishing, Oxford, UK. This article is an open access article distributed under the terms and
conditions of the Creative Commons Attribution (CC BY) license. Authors who
publish this series agree to the following terms:
1. Authors retain copyright and grant the series right of first publication with the work simultaneously licensed under a Creative Commons
Attribution License that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this
series.
2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the series's published
version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial
publication in this series.
3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and
during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See
Open access policy for details).