Освоение нотной письменности как проблема музыкального образования в современном Китае

Abstract

Задача данной статьи – выявить общие принципы, лежащие в основе музыкальной письменности, осмыслить с этой точки зрения традиционные системы музыкальной нотации в Китае и оценить педагогические возможности использования этих видов нотации в музыкально-образовательном процессе. В работе обсуждается содержание понятия "музыкальная письменность", рассматриваются основные виды (типы) музыкальной нотации. Предлагается краткий экскурс в историю развития средств музыкальной записи в Китае. Ставится вопрос о целесообразности использования разных систем нотации в процессе музыкального образования.

The purpose of this article is to identify the general principles of musical writing, to understand some traditional systems of musical notation in China from this point of view, and to formulate the question about the possibilities of using these types of notation in musical education. We discuss the definition of the notion "musical writing" and the basic types of music notation. The most common types of music notation in the world are: chironomic (or cheironomic) descended, hieroglyphic, alphanumeric, graphical-analogue and verbal instructional systems of signs. The work suggests a brief insight into the history of musical notation in China. It describes the situation of competition among different systems of notation – gongchzhe, digital (Jianpu) and Italian – in Chinese musical education in the twentieth century. The reasonability of introducing different notation systems in the teaching process is discussed. In both European culture and in the Chinese tradition the absolute and relative (transposition) systems of notation are used. This feature makes the application of traditional Chinese notation to modern music education possible and useful. No matter how strong the influence of European music culture and the apprehended ways of musical notation can be, they could not take roots in China so quickly and widely if the ground for their apprehension had not been prepared by the Chinese tradition of relational scale "gunchzhe" and the corresponding graphic signs. The application of several forms of notation in music education represents a serious methodological problem. Some teachers suppose that not only European, but also the traditional Chinese system of musical notation should be taught (it is connected with the tendency to restore the lost values of the ancient national art). Due to this fact the discussed pedagogical problem acquires cultural, aesthetic and ethical character.