Literacy Preservation of Qi Lin Lantern Dance in Chinese Schools

Qi Lin Lantern Dance is a traditional Chinese cultural practice involving elaborate lantern displays and dance performances. The objective is to investigate the strategies used for literacy preservation of the Qi Lin Lantern Dance in Chinese schools. The study was conducted in Chinese schools, incorporating formal and informal interviews, observations, and focus group discussions. Four key informants, including cultural experts and educators, provided insights into the cultural and educational aspects of the Qi Lin Lantern Dance. Data analysis involved thematic coding and triangulation of multiple data sources. The research results indicate a positive correlation between Qi Lin Lantern Dance preservation and enhanced literacy skills among students, emphasizing the role of cultural engagement in educational practices. Suggestions include integrating cultural practices into school curricula, promoting cultural awareness, and fostering cultural sustainability by preserving intangible cultural heritage

Education and Literacy in the Development and Transmission of Chinese Yao Nationality Folk Songs

Chinese Yao Nationality Folk Songs are a distinctive cultural treasure thriving within the Guangxi Zhuang Autonomous Region, intimately intertwined with the lives and traditions of the Yao people. The objective of this study is to investigate the role of education and literacy in the development and transmission of Chinese Yao Nationality folk songs in the Guangxi Zhuang Autonomous Region. The research site, Jinxiu Yao Autonomous County, serves as a culturally significant backdrop, chosen for its accessibility and cultural relevance to the research objectives. To gain comprehensive insights into this complex topic, three key informants with specialized knowledge and cultural insights were meticulously selected. An array of research tools, including observation forms, interview forms, and questionnaires, were employed to gather data and analyze various aspects of Yao Nationality folk songs. The results reveal the multifaceted phases of development these songs have undergone, from their sacred origins to their role in communal celebrations and emotional expression. The transmission of these songs is showcased through a blend of oral traditions and written records, with a contemporary integration of media and technology. This research suggests the need for a balanced approach to preserving cultural heritage while embracing modernity

SICHUAN QINGYIN PERFORMANCE IN CHINA, THE TRANSMISSION PROCESS

This study is “Sichuan Qingyin Performance in China; The Transmission Process, Obstruction and Way to Resolve”. The study employed the qualitative research methodology of ethnomusicology. The objectives were to 1) Investigate the development of Sichuan Qingyin performance in China. 2) Examine the transmission process of Sichuan Qingyin performance in Sichuan and Chongqing, China. Based on the study findings, 1) Sichuan Qingyin is closely related to ancient Chinese Quyi art. The sources of Sichuan Qingyin are complex. Sichuan Qingyin was formed roughly during the early Qing Dynasty. From the late Qing Dynasty to the early years of the Republic of China, Sichuan Qingyin flourished. During this period, the performances of Sichuan Qingyin were very popular in the streets of Sichuan and Chongqing. Sichuan Qingyin has developed significantly since the People's Republic of China was founded. Due to changes in the times, Sichuan Qingyin is being squeezed by other art forms, so the present state of affairs is not optimistic. 2) Today, the transmission process consists mainly of school education and professional performance groups. There are many obstacles to contemporary Sichuan Qingyin, such as a lack of performance venues, a loss of audiences, and an absence of newly composed works; this study outlines corresponding measures and recommendations. &nbsp

Knowledge of the Historical and Contemporary Status of Dong Ethnic Group's "Da Ge" Folk Music in Liuzhou, China

This research uses the qualitative research method, with the objectives of investigating the historical and contemporary status of the Dong ethnic group's "Da Ge" folk music. Using the research conceptual frameworks of Chinese art and music theory and western art and music theory, and the methodology of participant observations, experiments, simulations, questionnaires, and interviews, the three most representative types of "Da Ge" folk music of the Dong ethnic group in Liuzhou, China, selects two key informants. The study's findings are as follows: Many studies on musical score examples have revealed: The mode and scale of Dong “Da Ge” folk music are usually the Chinese national mode, and most of them are "Yu" mode. The melody is usually sung in several parts, usually two. The melody is sung in the high part of a song, and the continuous bass is sung in the low part. In melody, Dong “Da Ge” folk music primarily employs arpeggios and vibrato. The use of eighth and sixteenth notes, as well as dot rhythms that frequently alternate between two and three beats. Most songs have a paragraph structure. Dong ethnicity "Da Ge" music is sung in the most natural way possible, with a light breath

Knowledge of the Historical Development of Chinese Xiansuo Folk Music in Quinghai Province's Hehuang District

The qualitative method was used in this study to examine the historical development of Xiansuo folk music in Hehuang district, Quinghai province, China. Based on the field investigation method, field study method, questionnaire survey method, and recording method Using humanities theory, sociology theory, and historical musicology theory, the study results are as follows: Including its creation process and classifying it according to topic materials Xiansuo folk music is a type of music performance that combines literature, singing, and musical instrument accompaniment. It is widely performed in Haidong City, Qinghai. Xiansuo is not only a unique art form in the Hehuang area, but it is also the result of cultural fusion. It is an aesthetic result of the collective will, thoughts, and emotions, as well as the individual characteristics and aesthetic taste of the Qinghai people, and it has significant scientific value. It is a significant part of the propagation and promotion of traditional music culture and the Qinghai national spirit, as well as a meaningful type of Xiansuo folk music that is distinct from other ethnic musics. Examining Xiansuo music and showing the distinctive creative worth of Xiansuo in contemporary art is critical for encouraging social diversity and conserving traditional folk art. The qualities, musical elements, dissemination, and music have all been explored and researched, and any gaps will need to be filled by future research

Knowledge of the Historical and Contemporary Status of Dong Ethnic Group's "Da Ge" Folk Music in Liuzhou, China

This research uses the qualitative research method, with the objectives of investigating the historical and contemporary status of the Dong ethnic group's "Da Ge" folk music. Using the research conceptual frameworks of Chinese art and music theory and western art and music theory, and the methodology of participant observations, experiments, simulations, questionnaires, and interviews, the three most representative types of "Da Ge" folk music of the Dong ethnic group in Liuzhou, China, selects two key informants. The study's findings are as follows: Many studies on musical score examples have revealed: The mode and scale of Dong “Da Ge” folk music are usually the Chinese national mode, and most of them are "Yu" mode. The melody is usually sung in several parts, usually two. The melody is sung in the high part of a song, and the continuous bass is sung in the low part. In melody, Dong “Da Ge” folk music primarily employs arpeggios and vibrato. The use of eighth and sixteenth notes, as well as dot rhythms that frequently alternate between two and three beats. Most songs have a paragraph structure. Dong ethnicity "Da Ge" music is sung in the most natural way possible, with a light breath

Xinyang folk songs, development and transmission process in Henan province of China: Development and transmission process of Xinyang folk songs

This article uses qualitative research and interview methods with the objective to study the development and transmission of Xinyang Folk songs in Henan province, China. The area was selected in Henan city, China. The field work method is mainly used for collecting data. together with the information from the document. Xinyang folk songs have evolved chronologically depending on social changes, the Xinyang folk songs were approved by the State Council to be included in the national intangible cultural heritage list, the Xinyang municipal government began to pay attention to the inheritance and protection of Xinyang folk songs. The method to transmission of Xinyang folk song are; 1) Establish the original ecological folk village and cultivate the living space of folk songs 2) Use new online media to expand the influence of folk songs and 3) Establish intangible cultural heritage training courses to train successor of Xinyang folk songs. &nbsp

THE TRANSMISSION OF “DA GE” OF DONG NATIONALITY IN SANJIANG LIUZHOU CHINA

This article uses qualitative research and interview methods with the objective to guidelines the Transmission process of “Da Ge” of Dong nationality in Sanjiang, Liuzhou, China. The field work method is mainly used for collecting data. together with the information from the document. The results showed that transmission process of Sanjiang county Da Ge is divided into the traditional transmission: master and apprentice transmission, family transmission, community transmission; and modern transmission: cultural and artistic performance transmission. &nbsp