No abstract

Recent literature suggests that traditional approaches in folk music education are not necessarily compatible with the pedagogical conventions of formal music education. Whilst several recent studies have tended to define these non-classical-music learning contexts as ‘informal’, the practice of folk music that was recently introduced into Chinese Higher Music Education appears to be much more complex and fluid, at least in its real world setting. This case study presents a detailed example of the teaching and learning of folk singing in contemporary society in Western China. In this particular context, both ‘informal learning’ and ‘formal’ music practices were observed and compared, based on research data collected from four music lessons and subsequent interviews with the participants. Drawing upon the analytical evidence, the research discusses a possible pedagogical model where two apparently contrasting approaches to learning (i.e. a conservatory model vs. traditional folk learning) could coalesce to ensure more effective learning outcomes of traditional folk music in higher education contexts.

This metadata-based literature study provides a comprehensive mapping of China’s music education by analysing 3,257 Chinese research articles published during 2007–2019. The selection of the articles is based on careful inspections of the China National Knowledge Infrastructure (CNKI) database and rigorous coding of literature attributes. The analysis of descriptive and analytical attributes showed (a) dominance of qualitative over quantitative/mixed-method research paradigm, (b) a strong preference for conceptual over empirical studies and (c) a policy-reinforced research orientation. The prime inference from the findings also raised concerns on several ‘neglected’ research areas and quality issues in the selected literature.

By 2019, over 70,000 undergraduates had been awarded bachelor’s degrees in music education under the Free Education for Students in Teacher Education Programme in China. Although this helped to relieve a severe shortage of music teacher supply, recent studies reported serious concerns regarding the career readiness of this population. The purposes of this study were to (a) provide a role-identity profile of 4th-year undergraduate music education majors in China, (b) identify key elements in their professional identity development (PID), and (c) explore whether these elements were different from those identified in research findings in other education systems. Survey data were collected from 1,321 music education students in three Chinese universities for content analysis. The results suggest that occupation-oriented external factors are the most influential source in career decision-making. Most participants are struggling with multiple professional identity shifts that combine music trainee, teacher trainee, and preservice teacher roles across degree programs. These present the complexity of identity development in policy-reinforced professionalism in the Chinese education system.

China, Africa, and India have long vocal traditions dating back hundreds and even thousands of years. Supporting the vocal music of these countries and continents are pedagogical systems which are as much a part of the unique musical and cultural heritage of each location as the vocal music they serve. In many African countries and in China, the languages are tonal languages, each of which has wielded a strong influence upon the character of the country’s vocal music. This chapter examines the vocal music and vocal instruction of each country/continent, and also provides a description of current trends in vocal pedagogy. In particular, the influence of Western society and technology are discussed. Some countries, such as China, have undertaken government-led programs to preserve and promote earlier forms of music-making, while others have adapted to technological advancements by using new means to teach older traditions.