Under the economic globalization who should take the responsibility to make the music education actually valuable for Chinese p

Music in Confucianism was regarded as one of the means of governance, as well as a significant factor in educating people and in achieving social harmony. But the situation has changed since 1912, when music education moved into the category of compulsory subjects. Under the economic behavior, also all the parents want their children have a bright future. therefore lots of music teachers became ‘money makers’ because of this policy. The music as a creative art should give more space to students. Nowadays National Entrance Exam forced some of Chinese students study music no longer as an creative arts, they are practicing it for pass the exam with high mark, and they are passing it because of the music skill can give them more 20 credits compare with the others who can’t study music or know music skills as good as they are. Students suffer in the classroom, because music education is not enjoyable anymore. Nowadays students are seeking for material well-being. they do not actually care about arts and music, in particular. Even in an era of globalization such widespread phrase as Europe is not America, America – not Asia is relevant. Especially it seems strange that under the comprehensive globalization, China preserves its national identity. Suffice it to mention the peculiarities of the Chinese mentality, Chinese economy, developing rapidly after the Communist, unique educational system. but the Chinese musical art deserves paying special attention. Besides, the purposes of music education, according to the Ministry of Education in China, are directly connected with the fact that Chinese society still can not reject the idea of communism building. So, the tendency Art for Art sake is obvious. … It also absorbed elements of the music of people that were part of the Chinese empire (the Uighurs, Tibetans, Mongols, Manchu, etc.), and, in turn, greatly influenced the music of Korea, Japan and some nations of Southeast Asia and the Pacific. Chinese music has evolved since ancient times under the influence of religious, philosophical and ideological doctrines (Reimer, 1989). In Confucian treatises the concept of cosmological nature of music was developed, its social and political role was highlighted. Music in Confucianism was regarded as one of the means of governance, as well as a significant factor in educating people and in achieving social harmony. According to the ideas of Taoism, the music was to facilitate the natural expression of psycho-emotional reactions of man, its fusion with nature. 2. The Consequences of the New Education Policy The school music education, which was developed during one of the most complex, saturated with global cataclysms, period in the history of the country, gradually became a public system, marked by both significant achievements and serious shortcomings. Nowadays the assessments of achievements of challenges facing China’s school education are prerequisites for successful reform. Music became a compulsory subject in secondary schools of China in 1912. In accordance with the suggestions for the educational course of the country, made by Education Minister Tsai Yuanpey (1912), the role of artistic education plays the significant role in shaping the personality, thus, particular attention should be paid to music teaching in secondary schools. This document determined a new status of the given

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