A Study of the styles and characteristics of basic music theory textbooks in China in the past 100 years

Abstract: Due to various historical and realistic reasons, the development of basic music theory in China lags behind in the teaching system, teaching content and other aspects. It is an important task for Chinese music workers to revise or supplement the current basic music theory and related textbooks and then build a discipline system of basic music theory in China. This paper synthesizes the theories of music education and music history, music culture, music morphology and other related disciplines. It uses scientific, objective and rational values and holistic and comprehensive concepts. It takes the development of the basic music theory education of China as the research object and takes history as a mirror to further consider and prospect the construction of the basic music theory discipline system of China. The basic theory of Chinese Music can be roughly divided into three stages: (1) The basic music theory from the early 20th century to the founding of the People’s Republic of China; (2) From the founding of the People’s Republic of China to the period of reform and opening up; (3) Basic music theory compiled and published since the reform and opening up. It can be seen, from the development of the basic theory education of Chinese Music and its teaching materials, that the development of western music theory in China, before the founding of the People’s Republic of China, was a process from passive acceptance to active absorption. The scope of spreading western music theory was from the palace to the church, then to the school, and, finally, to the society, which made the music theory teaching in China gradually develop into a major and minor system as the leading mode. The basic theory of Chinese Music gradually deviated from its own track. With the deepening of music research after the founding of the People’s Republic of China, the discipline development of basic music theory has witnessed a prosperous situation, and the construction of basic music theory is moving towards the direction of diversification and deepening. Many musicologists and music educators have made contributions to the construction of basic music theory in China from different disciplines and research perspectives. Based on the principle of “combining history with the theory” and combing the development of basic music theory in China, the ideal model of Chinese music theory discipline construction is conceived to promote the integration between traditional music theory and modern music theory from a diachronic perspective What is relevant to strengthen the unity of the nation and the world in basic music theory from a synchronic perspective, and to pay attention to the connotation of technology and culture in music theory teaching. But also to strengthen the scientific and logical concept in music theory textbooks.

摘要：受诸多历史与现实因素制约，我国基础音乐理论在教学体系、教学内容等维度的发展仍存在滞后性。修订或补充现行基础音乐理论及相关教材，进而构建具有中国特色的基础音乐理论学科体系，是我国音乐学界亟需完成的重要任务。本文融合音乐教育学、音乐史学、音乐文化学、音乐形态学等相关学科的理论成果，秉持科学、客观、理性的研究立场与整体综合的研究范式，以我国基础音乐理论教育的发展历程为研究对象，以史为鉴，对我国基础音乐理论学科体系的建设展开深入思考与前景展望。

我国音乐基础理论的发展大致可划分为三个阶段：（1）20世纪初至中华人民共和国成立时期的基础音乐理论；（2）中华人民共和国成立至改革开放时期的基础音乐理论；（3）改革开放以来编纂出版的基础音乐理论。

从我国音乐基础理论教育及其教材的发展脉络来看，新中国成立前西方音乐理论在我国的传播经历了从被动接受到主动吸收的完整过程。其传播范围从宫廷延伸至教会，再到新式学堂，最终普及至社会，促使我国音乐理论教学逐渐形成以大小调体系为主导的教学模式，而我国本土音乐基础理论则逐步偏离自身发展轨道。

新中国成立后，随着音乐研究的持续深化，基础音乐理论学科发展呈现繁荣态势，学科建设正朝着多元化与纵深化方向稳步推进。众多音乐学者与音乐教育工作者从不同学科维度与研究视角出发，为我国基础音乐理论学科建设贡献了宝贵力量。

本文以“史论结合”为基本原则，通过梳理我国基础音乐理论的发展历程，构想中国音乐理论学科建设的理想范式：从历时性视角推动传统音乐理论与现代音乐理论的深度融合，从共时性视角强化基础音乐理论领域的民族性与世界性统一，关注音乐理论教学中的技术内涵与文化意蕴，同时在音乐理论教材中强化科学性与逻辑性的学术理念。