The evolution of the method of ‘oral and heart-to-heart teaching’ in contemporary times: Based on the observation of Shandong opera classroom

Abstract

French

As the main way of inheriting traditional Chinese art, oral and heart-to-heart teaching (OAHTHT) has survived in all kinds of art inheritance activities. However, the existing literature fails to provide a clear explanation of the applicability and evolution of OAHTHT in contemporary school music classrooms. This article reports on a project of ‘local opera in the classroom’ carried out in primary and secondary schools in six regions of Shandong Province from 2017 to 2020. It attempts to research the presentation and evolution of OAHTHT in contemporary music classrooms through classroom observation and semi-structured interviews with teachers and artists participating in the project. Findings show that the change in OAHTHT is not only reflected in the differences of material media, teaching space and spiritual space, but also in the relationship between ‘oral instruction’ and ‘heart to heart teaching’(Xin Chuan): from the past gradual relationship from skill to mind to parallel relationship of mutual subjects. Meanwhile, under the new OAHTHT inheritance mode, a new form of campus opera performance with children as the principal part is taking shape.

Keywords

Classroom observation heart-to-heart teaching Chinese local opera oral instruction

Get full access to this article

View all access options for this article.

References

Brooke

. (2019). Empty space (pp. 7–23). China Friendship Publishing Company.

Chen

. (1979). Ci hai (p. 3638). Shanghai Dictionary Publishing House.

Fan

. (2020). Fragile string – the crux of opera art inheritance from the perspective of “oral instruction. Kanto Journal, 3, 136–143.

. (2020). Oral “creativity” of contemporary Peking Opera. China Peking Opera, 2, 51.

Huang

. (Ming Dynasty, 1530). The new journal invents the piano score, the original printed edition in the collection of Beijing Library. Quoted from Wu

. (2011) Selected works of ancient Chinese music theory (p. 283). People’s Music Publishing House.

Liang

. (1998). The Correlation Between Social Ideology and Chinese Music Style: Also on the Gains and Losses of Music Culture on Both Sides of the Taiwan Strait [Symposium]. Hong Kong National Music Research Association (Ed). Proceedings of the International Symposium on Chinese Music (p. 381). Jinan: Shandong Education Press.

Liu

. (1999). Inheritance characteristics of “Oral and heart-to-heart teaching” of Chinese traditional music. Music Research, 2, 75–77.

Liu

(2011) Investigation and research on ‘Peking Opera into the classroom’ from the perspective of education policy (pp. 27–45). Master’s thesis, China Conservatory of Music.

. (2013). On the connotation of oral and heart-to-heart teaching in drama. Drama Research, 1, 202–219.

10.

. (2014). Why must oral and heart-to-heart teaching be adopted in the inheritance of opera art? Chinese Theatre Arts, 35(3), 55–59.

11.

Raymer

. (2003). Philosophy of music education, Trans. Xiong

Lei

(pp. 6–7). People’s Music Publishing House.

12.

Taichi

. (2020). Changes after Suzuki: A retrospective analysis and review of contemporary issues regarding the Suzuki method in Japan. International Journal of Music Education, 38(1), 18–35.

13.

Wang

. (1928). Ensemble Score, Taipei Commercial Press. Quoted from Institute of Music, Academy of Culture and Art, Ministry of Culture (1981) Selected works of Chinese ancient music theory (p. 474). People’s Music Publishing House.

14.

Wang

. (2012). On oral and heart-to-heart teaching of Peking opera performance program. Journal of Chinese Academy of Traditional Opera, 33(1), 85–88.

15.

Wang

. (1996). Correspondence between heart and instrument” in the teaching of national instrumental music. Chinese Music, 2, 30–31.

16.

Wei

. (2007). We should not exaggerate the role of “Oral and heart-to-heart teaching” in traditional music teaching. Journal of Guangxi Academy of Arts, 5, 110–114.

17.

Yuan

. (Tang Dynasty). Music Book Essentials . Quoted from: Yang

. (2018). Selected music theories of Chinese dynasties (pp. 188–189). East China Normal University Press.

18.

Xiao

. (Ming Dynasty, 1557). Supplement to Xingzhuang Taiyin, original printed edition in the collection of Beijing Library. Quoted from Wu

Zhao

, et al. Selected works of Chinese ancient music theory (p. 284). People’s Music Publishing House.

19.

Xia

. (2011). A survey of French children’s music education. Music of China’s music education, 8, 35–37.

20.

Xia

. (2020). Comparative study on contemporary school music education between China and France: Cultural strategy, curriculum concept and action report (pp. 51–55, 119–124). Shandong University Press.

21.

. (1992). Five questions of oral and heart-to-heart teaching. Baijia Art, 3, 31–37.

22.

. (1999). Peking opera and Chinese culture (p. 71). People’s Publishing House.

23.

. (2019). Study on the guqin teaching method: Inner understanding through oral teaching (pp. 138–146). Scientific Research Publishing.

24.

Wang

. (2016). Yu Zhenfei’s art collection. Zhongxi Publishing House.

25.

Zhang

. (2008). On the connotation of oral and heart-to-heart teaching of opera. Operations Research, 3, 286–300.

26.

Zhen

. (2012). On the traditional inheritance of opera music – “Oral and heart-to-heart teaching. Journal of China Academy of Traditional Opera, 33(2), 86.

27.

Zhu

. (2010). Multiple interpretations of oral and heart-to-heart teaching. People’s Music, 6, 38–40.

28.

Zhu

. (1997). Oral instruction and traditional Chinese education. Beijing Opera, 6, 35–36).