Contents

Chinese Music (Quarterly) 2016 Periodical 3^rd (General Periodical 143^rd)

Special Column 1: Commemorating the 100th Anniversary of Bo An

1/Ziming Chen/My Wishes and Suggestions

3 / Prepared and Edited by Zhe Wu/Excerpts of “Commemorating the 100th Anniversary of An Bo and Academic Seminar of Chinese Music Education System Construction”

Special Column 2: Cross-border Ethnic Group Research

12/Minkang Yang/From Music Research of Cross-border Ethnic Group to Cross-border Research of Subject Methodology—Including Reflections on Chinese Ethnomusicology from Object Subject to Thought Subject

21/Yimiao Su/The Returned Soul: Research on Tune of “Bei Mao/Xi Ma Lang” [Calling the Soul Back?] of China-Vietnam Yi Ethnic Group

33/Xin Xu/Regional Layout of Music in Indo-China Peninsula against Western language

43/Liu Xueying/ Research Overview on Homologous and Cross-Border Ethnic Groups of Hezhen—Nannais “Nyingma”

49/Xiaomei Zhang/Comparative Study on the Inheritance of China-Vietnam Folk Song—Focusing on the example of Dongxing District of China and Coast Defense of Vietnam

Ancient Music History and Modern Music History

57/Yingshi Chen/Analysis on Runjiao Tune of Yan Music in Tang and Song Dynasties

62/Xi Jin/An Introduction on the subject of Lost Music Books from the Han Dynasty and the Tang Dynasty

70/Liang Cao and Xiaoping Wang/Research on Ancient Bronze Musical Instruments of Hainan Island

Ethnic Musicology and Traditional Music Theory

80/Mei Xiao/Research on the subject of “Musical Language” in the System of Traditional Chinese Music

93/Yi Qi/Renewed Folk Music Community against the Urbanization—Observation and Reflection on “Music Ensemble?” in Nantou Village of Bazhou City

100/Yong Shi/What is “Chinese Pop Music”—Concept Analysis against the Background of “Nationalization of Pop Music”

105/Ran Xu/Musical Reconstruction of Lost Liao Zhai Folk Tune—[Taking Ode to Qingjiang River ]and [Waves Washing the Sand] as an Example

113/Bin Cui/Investigation and Research on Uygur’s Naghara Wind and Drum Music against Festival Culture—Taking Maimaiti Tuoheti Wind and Drum Music Association Kashi Prefecture of Sinkiang for Example

118/Fang Hao/The Unique Scale/mode System in Nanyang Operas

Music Performance

123/Yaxiong Du/Learning Singing with Clear Articulations and Mellow Tune—Introducing Exploration for New Vocal Music Teaching

129/Yuhong Xu/Dunwu Xu’s  Analysis on Chinese zheng ,Art of Hanchu Opera

137/Xiao Hu/New Development of Stage Performance of Chinese Bowstring Art—Scene Concert Symposium Overview of Chinese Music Painting and Dance—Riverside Scene at Qingming Festival

Theory of Composition and Analysis of compositions

142/Lixia Ban/   Compositional Techniques and Artistic Characteristics in Liang Lei ’s “Sound Calligraphy”

151/Xinxin Feng/Analysis on the Concept and Characteristics of German Serial Music—Taking the compositional Creation of Stockhausen as an Example

161/Ming Wei/Comprehending Creation Intention and Unscrambling Creation Thoughts—Auditory Analysis on 2015 “Concert of Youth Composers’ Excellent Chamber Music Composition” 166/Wang Guisheng and Wang Dongtao/Analysis on Development, Improvement and Relevant Concepts of Labelling Method of Functional Harmonics—Taking Harmonics Course of Игорь Владимирович Способин for Example

Music Education

177/Xuefei Lan/Out of Thin Air and Close to Originality—Teaching Measures of Original Folk Song in Colleges and Universities

186/Kai Ren/Exploration and Integration on Effective Elements of Foreign “Music Teaching Method Pedagogies”—and Discussion on Construction of Chinese Creative Music Teaching Theory System

196/Jing Wu/Returning to the Beginning (Going back to the origin)—Reiterating Significance of Oral Teaching and Tacit Understanding in National Vocal Music Teaching

202/Chaoxia Gao/The basic Analysis on Current Situation of Talents and Strategies in Higher Art Institutes