Search

Chinese music has played a significant role in the lives of the Chinese people for generations, being passed down from one generation to the next. Particularly, Changchao Lu's Guqin teaching holds valuable academic insights. Therefore, this study aims to investigate the transmission of Guqin knowledge and literacy by Changchao Lu. The researchers used qualitative approaches, specifically interviews and observations. The study's findings illustrate that Changchao Lu's Guqin playing style exhibits attributes of tranquility, minimalism, strength, and adaptability. The instructor's pedagogical approach integrates conventional and progressive elements, placing significant emphasis on a comprehensive and balanced educational experience. He established the College of Chinese Arts, which aimed to amalgamate conventional and contemporary Guqin education. The institution prioritized several aspects, such as theoretical knowledge, performing skills, pedagogy, and even the craft of instrument-making. The use of online technologies, the promotion of collaborative learning, and the implementation of a student-centered approach all improve the educational experience. Changchao Lu's activities encompass the integration of Guqin, a traditional Chinese musical instrument, into rural schools, the promotion of cultural understanding, and the active engagement of local education officials. In addition, he engages in collaborative efforts with local governmental bodies to rejuvenate rural culture by means of Guqin, therefore nurturing artistic potential and establishing connections between Guqin art and local industry.

Rongshui Han folk songs, symbolic of Liuzhou's ethnic culture, hold significant cultural value in transmitting history and traditions. However, contemporary scholars have limited attention, requiring further exploration and research. The objective of this study was to propose guidelines for promoting literacy transmission and education through Rongshui Han folk songs in Guangxi Zhuang Autonomous Region, China. This is a qualitative study that includes relevant literature research, surveys, interviews, and transcriptions. This information is drawn from the research of two scholar informants and four informal informants. Analyze data from Rongshui Han, Miao, and Zhuang folk songs, focusing on their cultural significance and historical context. The result of this study shows that the government plays a crucial role in promoting and safeguarding Rongshui Han folk songs for literacy transmission education. Emphasizing their unique attributes and leveraging their inherent advantages is essential. Nurturing younger generations and investing in training initiatives are crucial. Online media platforms can further broaden the dissemination of Rongshui Han folk songs for the preservation and propagation of this intangible cultural heritage. Increase awareness and understanding of local ethnic culture while engaging youth in cultural preservation and transmitting folk song traditions.

This study used a qualitative and descriptive methodology to classify and examine the large amount of information that was collected through field research. The research objective was to examine the history and development of Heluo Dagu in Henan Province, China. Field investigation, a questionnaire survey, literature research, a case analysis, and comparative induction were all parts of the study. The interviews were divided into three with key informants and two with general informants. The study's results are as expected, as the history of Heluo Dagu is rooted in ancient Chinese rap music, dating back more than 3,000 years to the Zhou Dynasty. In the early stage, rap music has gone through such musical forms as "advocating you," "Gu Meng," "Chengxiangzhou," "talking," "changing Wen," "Zhugong Diao," "Guzi Ci," "Singing and Earning," "Ci Ci," and "Tao Zhen," which laid a solid historical foundation for the formation of Heluo Dagu. The early forms of Heluo Dagu after its formation include "three-string Hingzi Shu," "Luoyang Qinshu," "Dagu Shu," and "single Dagu." The development of Heluo Dagu has experienced: the first stage in 1905 AD, "drum touch string," "Dagu Jingqiang"; the second stage of the "Three Imperial Meetings"; the third stage, "Baishan Huang," and "Heyang Dagu." At present, the development of Heluo Dagu has been inherited by six generations of artists. [ABSTRACT FROM AUTHOR]