Decentralization of Chinese music

1. 1、 The connotation of audio-visual new media program form
"program" refers to the art works of art performance at the earliest. After the birth of radio and television, with its great advantage of electronic communication speed and coverage, it quickly became the main media of mass communication. Almost all art programs are spread rapidly by virtue of its advantages, so the word "program" also extends from the literary and artistic performances in radio and television to all the projects broadcast by radio and television stations. John Fiske, an American scholar, believes that "program is the part of TV output with clear definition and identification. It has a clear time and form boundary, and has the similarities and obvious differences with other programs. We know that advertising is not part of TV programs. We know when one program ends and another starts. The program is a stable and fixed entity, which is proced and sold in the form of commodities and arranged and broadcast by the program choreographers. " Thus, in a broad sense, the program can be understood as the content and form of different media. However, this understanding is too broad. We can better understand the connotation of new audio-visual media program form in a narrow sense with the help of relevant scholars' research on TV program form
there are many different understandings about the definition of TV program form. Some researchers believe that "the form of TV program refers to the form of TV program expression corresponding to the content of TV program. It is the core of TV program proction mode and provides TV processing methods suitable for different content". Some researchers believe that the form of TV program is the form and movement state of the content of TV program, including the name, theme, content, form and ration of the program. However, it can not be ignored that "the form of TV program has been given new meaning in contemporary times - the so-called form of program is the basic mode of TV program design". Other researchers believe that "program form is the form of a radio and television program, which is composed of various elements in accordance with different combinations and different functional directions. The final form of the existence of the program has a relatively stable external form and internal structure."< The connotation of TV program form includes the following aspects: 1) the form of TV program is the form of expression and structure of TV program content; ② The form of TV program is in the state of continuous development and change; ③ The form of TV program also has the meaning of TV program design mode. These studies on the form of TV programs are of great significance to better understand the form of audio-visual new media programs
if we look at audio-visual new media programs from a historical perspective, the so-called "audio-visual new media programs" should be graally formed with the birth and development of audio-visual new media, which is different from the traditional radio and television program content and service functions. This kind of program either has a different mode from the traditional radio and television program in the form of structure, or has a new expansion to the traditional radio and television program in the service function. In short, audio-visual new media programs should be the content, form or service that the traditional radio and television broadcasting platform does not have. Therefore, even the content of traditional TV programs broadcast on the new media platform, such as TV plays and TV programs, does not belong to audio-visual new media programs
a brief summary of the connotation of new audio-visual media program form is as follows: first, new audio-visual media program form refers to the content, form or service different from traditional radio and television programs, and its prominent feature is the interactivity based on Internet technology. Second, the form of audio-visual new media programs refers to the programs or services broadcast on the digital new media platform. Third, the form of audio-visual new media programs is in constant development and change, and new categories will emerge and mature with the development of audio-visual new media< Second, the types of audio-visual new media program form
the research of audio-visual new media program form is just beginning, and there is no ready-made classification standard to follow. The author believes that the types of audio-visual new media programs can be classified according to the broadcasting platform, the technology application and the content innovation. However, no matter according to what standard classification, the new audio-visual media program form should be "the program form not on the traditional radio and television media broadcasting platform". Following this basic premise, this paper attempts to classify all kinds of audio-visual new media program forms by taking a comprehensive view of all kinds of new program contents and service functions in the process of the integration of radio and television and Internet
classified by new audio-visual media broadcasting platform. At present, the broadcasting platform of audio-visual new media programs is mainly the new media form proced by the integration of traditional TV and Internet, mainly including network video and IPTV proced by the integration of TV and Internet, and mobile TV proced by the integration of TV and mobile Internet. Accordingly, the new forms of audio-visual media programs such as network video columns, IPTV and interactive TV content, and mobile TV programs have emerged
according to the content of audio-visual new media programs. In the development of new audio-visual media, e to the changes in the relationship between the communicator and the audience, the enhancement of the audience's participation, the increase of micro fragmented content, and the innovation of technology application, new audio-visual media programs such as citizen video news, micro film, new media drama, rich media advertising, video games and so on have emerged
these new forms of audio-visual media programs are not available on the traditional radio and television broadcasting platform. They were born in the process of new media development, or inspired by the content of traditional TV programs, they integrated the technical characteristics of audio-visual new media, thus glowing with vitality. The former includes citizen video news, IPTV and interactive TV content, electronic games, rich media advertising, etc., while the latter includes micro film, new media drama, online video column, mobile TV program, etc. Each new form of audio-visual media program has its own birth, development process and typical characteristics
1. Microfilm
microfilm is a kind of short-term, long-term and low investment image art content proct that can be proced and played on the multi-media platform. In the new media era of sharing, interaction and communication, the essence of micro film is an image way of participation and disclosure. The types of micro film can be divided into: advertising micro film, star micro film, customized micro film, game micro film and so on. The most important reason why micro film can become a new form of audio-visual media programs is that "micro content" is widely popular in the Internet age. The emergence of network broadcasting platform and the double prosperity of "micro content" creation and communication have changed the content ecological environment of new media. The rise of video websites such as youtube, Youku, Tudou and liujianfang, the prosperity of UGC (user-made content) and the addition of social professional proction force have made "micro film" enjoy "micro time" and become a new favorite of mass cultural consumption. In this sense, it is the network platform and space that create the "micro film", making it a worthy form of audio-visual new media programs
2. New media drama
New Media drama is a kind of film and television drama with the characteristics of free and flexible viewing, rich types and so on. New media plays include network plays, mobile phone plays, public audio-visual carrier plays and other types, with the characteristics of short proction cycle, low proction threshold and low investment risk. Foreign online dramas originated in the 1990s. It is generally believed that the brand advertisement "place" implanted with apple and other information procts is the first online drama in the United States. In 2000, an original online drama "primary color" was uploaded to the website. In 2005, Shanghai Wenguang and Shanghai Mobile jointly launched the mobile drama new year star. In 2006, Youku, Ku6 and other video sharing websites went online one after another, and more and more online dramas emerged. In essence, new media play is a "variation" of traditional TV play on network video, mobile video and mobile TV broadcasting platform. The short time characteristic of new media play is different from traditional TV play. Generally speaking, the ration of a single episode of new media series is about 10 minutes, which is largely determined by the "micro time" of users in the mobile environment. At the same time, the group characteristics of network users and the audio-visual new media broadcasting platform have become the qualitative stipulation of new media play becoming one of the forms of audio-visual new media programs
3. Citizen video news
citizen video news is a video clip shot and proced by the general public, released on the Internet platform, and used the image and sound symbol system to reflect, report, record and investigate the recent or ongoing facts. Wu Xinxun and Wang Jianlei divided citizen video news into five categories: public domain, personal experience, active investigation, pre planning and video synthesis; Cai Lixia believes that the sources of citizen news include on-the-spot information, self events, investigation reports and self reports. In the form of expression, there are great differences between citizen video news and traditional TV news. For example: citizen video news generally does not appear on camera reporter, does not have the host, does not set the news lead; The picture is not very clear e to non professional equipment shooting, the lens is sometimes unstable, and the use of push-pull shake is not reasonable, etc. However, it is precisely because citizens' own judgment of news value, non professional interview and shooting, and the use of music and subtitles are different from mature TV news that its unique program form characteristics become more prominent and obvious. The rise of citizen video news, on the one hand, is e to the popularity of digital cameras and computer editing systems and other technical equipment, on the other hand, it shows the enhancement of the awareness of civil society participation. At present, this form of audio-visual new media programs has been reversed to the traditional TV broadcasting platform, showing vigorous vitality
4. Network video program
when the network video program develops to a certain stage, there appears a network video program with obvious column characteristics, such as fixed website broadcast, fixed program ration, fixed host, etc. this kind of program belongs to network original program, which is not broadcast on traditional TV station. For example, the self-made online entertainment program "Dapeng Bamba Bamba" launched by Sohu in January 2007, the original news comment column "small six bricks shop" launched by people's TV channel of people's net at the end of 2009, the original network talk show column "spicy scholar" hosted by Lin Bai (network name "white wolf in forest"), a doctoral candidate of Communication University of China Tencent launched the original documentary column "record" in July 2011. During the London Olympic Games in 2012, Phoenix New Media launched the Olympic original programs "Qiang Qiang Wu Huan Xing" and "London afternoon tea", which were simultaneously broadcast in prime time on more than 10 member stations of Henan satellite TV and Shenzhen satellite TV's cutv (City United Network TV station), becoming the latest example of the network video program's counter attack on the traditional TV broadcasting platform
5. IPTV and interactive TV content
the so-called "IPTV and interactive TV content" refers to new interactive programs and services based on network technology, which are presented on IPTV or two-way interactive cable digital TV with TV as the receiving terminal and different from traditional TV media interactive programs. For example, on TV

2. All music loving creators, while enjoying the fun, should also pay attention to protect their rights and interests. So how to protect their music has become an important thing to be solved. The following eight commandments of intellectual property rights to teach you how to protect their music right? How to protect the right of your music works? How to protect the right of your music works? 1、 First of all, you have to prove that the songs you write are your own. It's easy to say, but actually it's more difficult. You can prove when the song is yours through your original manuscripts, the track files of the song, the recording personnel of the song, and the friends who initially heard your song. Of course, the best way is to register with the right office. 2、 Secondly, the song license agreement must be a paper agreement to take effect. This is mainly for musicians who like to upload songs to the website to share with others. Everyone likes to upload songs to music websites. When uploading, there may be an agreement to upload songs. Although there are many contents in the agreement, I tell you that it can't prove that you have authorized the right of songs to the website, let alone that the website can make money with your songs. The right of songs is still in your hands. By extension, any electronic agreement related to the right authorization of songs is invalid, and it will be deemed as an invalid overlord clause within the legal framework of China. 3、 Sign the right license agreement carefully and add the terms you want to add. If you want to license the songs, no matter whether you want to license the songs to CRBT company or record company, you must remember that the terms in the agreement have legal effect, and the validity of other oral promises is uncertain. The protection period of music right stipulated by the right law refers to the protection period of exclusive rights enjoyed by the composer, adaptation, translation and other creators of music works. The period of protection ends on December 31 of the 50th year after the death of the author. The deadline of the cooperative work is December 31 of the 50th year after the death of the last author. Music works beyond the protection period can be used free of charge, but the author's personal rights such as the right to sign, the right to protect the integrity of the work, and the right to modify are always protected. How to protect the right of your music works? If you have more questions about right protection, you can continue to pay attention to Bajie intellectual property or contact us by telephone.

3. Cultural relativism is a school of anthropology based on the methodology and epistemology of relativism. This school emphasizes that anthropology should belong to the humanities rather than the natural sciences, and insists that anthropology should take "discovering people" as its main goal (Note: Alan Merriam, anthropology of music, Northern University Press, 1964, P. 23)
cultural relativism is actually a relativistic value theory, which is an important part of the whole relativistic social trend of thought. They believe that any kind of cultural behavior can only be evaluated by its subordinate value system, and there is no absolute value standard applicable to all social cultures. The progress of human civilization can not be measured only by the value scale of "Western civilization". The cultures of all ethnic groups are developing along their own track, looking for the cultural environment and lifestyle suitable for their own survival and development. In other words, all kinds of cultures are walking along their own path. The existence of culture has its own profound historical, social, psychological and biological factors. It is the result of the integration of its own society and environment. Culture can not be transplanted mechanically. Therefore, the attempt to "transform" the so-called "primitive" nation with Western civilization is counterproctive. In the view of cultural relativists, cultural anthropologists in the past used their own social value standards to evaluate the cultural phenomena of other nations, which would make mistakes and easily fall into the mire of self nationalism
cultural relativism came into being in the 1920s. Before it came into being, different cultures met. Due to their differences, there were three possibilities: the first was cultural conquest. For people who are different from their own culture, they are all regarded as heresies and ecated (transform other cultures with their own cultural model). The second is cultural plunder. That is, from their own cultural ideas, recognize and respect some aspects of the value of other cultures, and strive to understand it, and occupy it. For example, the formation of ancient Greek civilization benefited from ancient Egyptian culture. The third is cultural exchange. This is a two-way process of mutual influence and mutual respect. That is to say, different cultures actively absorb other cultures after collision to make up for their own shortcomings. For example, the absorption of Indian Buddhism by China, the Chinese craze in Europe in the 18th century, and the learning of Chinese culture by ancient Japan, etc
in modern society, especially since the third instrial revolution dominated by information network, people's knowledge about other cultures has graally enriched. Due to the end of the era of imperialism and the collapse of the colonial system, all new countries are committed to seeking back and developing their original national culture. These new developments make the original strong culture have to change its thinking direction. As a result, cultural relativism has developed greatly. There is no doubt that compared with the past cultural conquest and cultural plunder, cultural relativism is undoubtedly a historic leap forward and has a great impact. As the anthropologist Conrad Philippe Kotak said: "the main purpose of anthropology is to fight against various forms of ethnocentrism." Note: Conrad Philip Kottak, ant hropology:The Exploration Of human diversity, New York, mograw hill, Inc., 1991, P. 44.) Cultural relativism represents the complete negation of the theory of ethnocentrism
Melville herskowitz, the core figure of cultural relativism theory, pointed out: "the core of cultural relativism is a kind of social training that respects differences and requires mutual respect. It emphasizes the value of multiple lifestyles, which aims at seeking understanding and harmonious coexistence, Instead of criticizing or even destroying those things that are not consistent with their original culture "(Note: herskowitz: cultural relativism - multiculturalism, Blue Sky Press (New York), 1972, pp. 32-33). This not only emphasizes the social and cultural equality of different nationalities, but also emphasizes the mutual tolerance and respect between different national cultures. Equal treatment is the only basis for the multi-cultural prosperity of the world. Only with a sense of tolerance can different cultures learn from each other, develop their strengths and avoid their weaknesses, and usher in the peace and prosperity of the international community. If there is no respect, then all ethnic cultures are not really equal, and there will be no tolerance for different cultures
the development of anthropology not only proves that the cultures of different nationalities are diverse, but also have their own inherent characteristics, thus forming a rich and diverse world culture. It is not only possible but also necessary for different cultures to understand, absorb and infiltrate each other. Even different groups and indivials in the same culture have different understanding of things. It is obviously contrary to the fact that they only emphasize the "unity" in the same culture. At the same time, the history of the 19th century and the 20th century has proved that it is impossible to annex or "unify" another culture with one culture. The results have always been disastrous. Therefore, western culture can not assimilate Eastern culture after all, nor can it synthesize various cultures to create the so-called new "world culture". As the American scholar Huntington said: Western civilization is unique, but not universal Note: Huntington: Western Civilization: unique, but not universal, translated by Xu Yi, in abstracts of modern foreign philosophy and Social Sciences, No. 6, 1997.)
with the proposal of cultural relativism, we have to admit that we are facing a reality of pluralistic coexistence. To recognize this reality, we must recognize the independent existence of culture, that is, relativity. The purpose of cultural exchange here is to achieve the mutual understanding of different countries and nationalities, absorb the advantages of others in the understanding, and use them to supplement, activate, enrich and build their own culture. In this process, communication is dialogue, and there is comparison in dialogue. In comparison, we can show our own uniqueness and commonness, and find common regular phenomena, so as to enrich human culture. At the same time, we should pay attention to the renewal, variation and development of our national culture
in a word, cultural relativism is a reasonable and realistic cultural attitude in today's era of pluralism in the world, and it is also the minimum cultural and political consciousness that every nation should have in dealing with different countries and cultures. Especially with the improvement of information and transportation, the communication, competition and contact between different cultures and nationalities are becoming more and more common, so it is more and more important to understand and even appreciate the people whose behavior or thinking way is different from ours. Cultural relativism has gone beyond the category of methodology in anthropology, and is becoming a worldwide cultural spirit worthy of promotion Note: Liang Shoude and Fang Lianqing, chief editors: 1996 - International Society and culture, Peking University Press, 1997 edition, P. 161.)
Music Criticism Based on the relativity of cultural values
the new pattern of the development of world music culture in the 21st century is that different music cultures achieve dialogue and some degree of integration after mutual collision. How to make the nations, countries and regions with different musical cultural traditions develop in different ways, so as to create a new situation of diversified development of musical culture under the global consciousness? There is no doubt that the relativity of cultural value provides us with positive value resources, which is an important theoretical pillar to realize multi music culture. Therefore, in the face of the 21st century, if we do not establish China's own music subject consciousness and its own music ecation system, Chinese music will not be able to carry out dialogue and exchange in an open and diversified global music culture. This is not concive to the sound survival and healthy development of Chinese music culture, which should also be a major issue for us to seriously review and reflect at the end of the century< A qualitative analysis of the "backwardness theory" of Chinese music
looking back on the development of Chinese music in the past 100 years, our biggest lack is that we have lost confidence in the national music culture, so that Chinese traditional music has not achieved its e status, and its curriculum is still in a state of "Marginalization" in the study of music major. The theoretical basis for this cruel fact is the "backwardness theory" of Chinese music
the formation of the "backwardness theory" of Chinese music has its deep historical and cultural reasons, which are mainly manifested in three aspects. First of all, our modern professional and (public) amateur music ecation system was graally established at the beginning of the 20th century with the introction of western music, the influence of the May 4th new cultural trend and the learning from the west of musicians who returned from studying in Japan, Europe and the United States. Up to now, the music theory (such as music theory, solfeggio, work analysis, etc.), basic courses and values that we follow are western. Although they have their own characteristics, they are not fundamentally different from those in western countries. Based on this kind of western basic ecation theory and method, it is a shackle to the diversified development of Chinese music culture. Secondly, when people introce the history of music development, they often take simple music as the forerunner of complex music, and take complex music as the improvement and improvement of early music. A deep-rooted idea is to regard the history of the development of western music from monosyllabic system to polyphonic system as the general law of the world music history, and to classify Chinese music as monosyllabic system and "backward" according to this standard. The reason why people form this view is related to the fact that modern music theory originated from the 19th century when evolutionism was popular. Thirdly, there are quite a number of scholars who blindly adore western music in our music circle. Because of the lack of or even no serious and systematic research on Chinese traditional music, they rashly regard our national music culture as a waste of time. This kind of biased attitude has seriously disturbed the Chinese music circle and caused great ideological confusion
in his book is western art music the most advanced The article points out: among musicologists, music ecators and even some music ethnologists, the idea that "western art music is superior to other music in the world" is still habitually and self-evident recognized. In essence, it is a of colonialism in the field of musicology. This paper analyzes the "naturalness, complexity and significance" of music, and holds that what they have in many cultural music is not unique to Western art music. Therefore, western art music is neither better nor worse than other music traditions, and the music system can not be simply measured by the same standard. It is a pity that "western music is the most advanced music" has almost become the collective unconsciousness of some people in China's music circle. They accept the domination of western modern discourse with sincerity and willingly permit the enslavement of Western cultural hegemony. Due to the long-term of western music model, seriously affected the healthy development of Chinese music
take a simple example. Everyone who is engaged in music knows that basic music theory is about the basic grammar of music, but in our music teaching, basic music theory is western. Mr. Huang Xiangpeng pointed out: in fact, the existing music theory books are only a period in the central area of Europe, that is, the 18th and 19th centuries

4. Since the 1950s, the development of international music ecation has been highlighting the theme of multiculturalism. The so-called multi-cultural view means that cultures of different nationalities, countries and regions should be respected, understood and developed. As far as music is concerned, it means to fully respect the music of all nationalities and regions in the world. The diversity of the world's nations determines the diversity of the world's music. The music of each nation is created according to its own aesthetic standards, which is a reflection of its own culture. We can't think that whose high-level, whose low-level, whose scientific and whose unscientific are just different characteristics, which should be respected and understood

for a long time, the Eurocentrism of music has seriously restricted the music culture of various regions and nationalities in the world, and affected the inheritance and development of national music in various countries to varying degrees. In fact, the distinctive music culture of different countries and nations in the world is the precious cultural heritage of mankind and the common wealth of the international community. Together with European music culture, it has created the music civilization of the whole world

based on the above understanding, the development process of International Music Ecation in the past half century has continued and deepened the theme of pluralistic music ecation concept. From the previous conferences held by the international society of music ecation, we can see a clear guiding ideology: the theme of the third conference, which was not held in the 1950s, was "promoting the common development of music in the eastern and Western world, and taking it as a means of international mutual understanding and communication"; The theme of the 6th Congress held in the early 1960s was "East and West in the music world and music ecation"; In the 1970s, the music ecation development plan of "retaining local music and tradition, constructing national music system and offering National Music Courses" was further put forward at the 12th Congress, which was generally approved and responded by the international music ecation circles; In the 1980s, at the 18th Congress, the theme of multicultural view of "the world concept of music ecation" was once again reiterated, and the development direction of world multicultural music ecation was once again clarified; The theme of "sharing world music" was established in the 20th slow conference held in Seoul, South Korea in the 1990s. This theme not only highlights the great role of music in promoting world peace and human development, but also closely connects music ethnology with world music ecation, and fully reflects an international vision and global consciousness of "sharing"

the research on the curriculum development of pluralistic music ecation has also made many significant achievements in the past few decades, such as the research on the cultural guidance and data sources of India, China, Japan and Oceania, Anderson's research on the ecation of two kinds of non western music in American primary schools, Belke's research on Mexicans and American Mexicans and Indian Mexicans' music culture, and his research on Indonesian culture and music style, etc. It should be pointed out that these studies are carried out in the music curriculum of primary and secondary schools, reflecting the clear value orientation of general music ecation
with the advent of the information age, the trend of integration and separation of global culture has greatly changed the world cultural pattern. All countries and nationalities generally show a new awareness of their own sovereignty and hope to establish a relationship of equality, respect and understanding between different cultures, and carry out dialogue and exchange on this basis. Influenced by this development trend, a series of psychological and value changes have appeared in the field of consciousness, and the concept of music ecation is closely related to it, and the changes are extremely prominent. From the development of music ecation in various regions of the world, we can see that the development of international music ecation is deeply influenced by music anthropology and cultural anthropology. The wide use of the plural "&" () * "of music% &" () * + in international music ecation indicates that the multi-cultural values of music anthropology have become the ideological basis of contemporary music ecation, and also have an important impact on today's music ecation in China. This new concept first requires a more comprehensive positioning and understanding of music ecation. Secondly, we should thoroughly break through the original values and attitudes towards the local music culture. Finally, on the basis of multi-cultural values, we should treat our national culture and all kinds of world cultures equally and objectively, and establish a music ecation system of our own main culture, so as to promote the development of China's music ecation in the 20th century. Nowadays, in the situation of challenges and opportunities, does higher music ecation in ethnic minority areas follow a set of specific standards provided by traditional "science and reason" to assimilate local music culture, or renew itself in the face of new reality and reform the old ecation mode which is difficult to adapt to social development? I think we should choose the second one. This brings about three key problems. First, the change of ecational concept; Second, the construction of curriculum system; Third, teachers and teaching resources., The change of ecational concept
) multicultural music ecation. On behalf of the highest music ecation institution in the world, the international society of music ecation
(-. / 01.2 /) 3.24 53 *) 0 / 6 731 8 '() * 9:' * 2 /) 3& quot; Conferences at the end of the century!, Its theme is constantly enriched, abandoning the narrow and old view that western music is superior to other world music, and broadening the theoretical and practical level of music ecation$ The expansion of the mission of music ecation in the 21st century has laid a solid foundation. Multicultural music ecation, with world music as its core, is also - 589 self $& lt;= The dominant discourse since its establishment in 1949. The absorption of "decentralization" and "irrationalism" in postmodern philosophy has formed the concept of world music based on multi culture. The famous ethnomusicologist slobbin once said when discussing the global music view: "world music is like a pulse, running through all kinds of music styles, music libraries and music practice, extending or contracting in the broad or narrow scope of the world landscape. World music is no longer limited to a single category of historical and geographical origins."& quot; Ms. Zheng Su, Professor of ethnomusicology, University of Wisconsin, USA& quot;& quot;$ Year & lt; In May, when giving lectures at the Central Conservatory of music and the China Conservatory of music, he repeatedly mentioned that "world music is here$ The 21st century will occupy the mainstream of global music culture and replace it& quot; Western art and music in the 21st century. " The understanding of different music cultures in the world has become an important content for people to expand their horizons, and also a conscious intention for all nations to seek self-development. Multicultural music ecation concept includes a broad, inclusive but not exclusive humanistic concept, an open attitude of respecting all music cultures in the world and looking forward to further exchanges, which provides valuable theoretical resources and development ideas for music ecation of all ethnic groups in China< br />!& quot;< At the same time,
students in minority areas can learn more about the music culture of Han nationality and other nationalities in the world
higher music ecation in ethnic minority areas is an important part of Chinese music ecation. In today's "modernization" wave, the traditional culture of ethnic minorities is easy to lose its ecological environment of survival and inheritance. Minority music ecation from the perspective of multiculturalism, because of its open and relative cultural values, may provide some methods and ideas for the preservation, continuation and development of minority music, and create a new ecological environment for its development. Only an imaginative, sensitive, detailed and continuous multi-cultural music ecation can be concive to the cultural development of minority music
the construction of curriculum system expands the curriculum, which is also one of the challenges to ecation in the post-modern world. Therefore, ecation can not simply be regarded as an agency to pass on the tradition, it must challenge and clarify the cultural value through critical thinking to achieve self realization
on the basis of the above, the construction of the theoretical system of multi-cultural music ecation for ethnic minorities should not only make a simple repair on the basis of the original music curriculum, but also consider a new starting point and new music curriculum design. Firstly, we should break through the restriction of the cognitive framework, teaching system and teaching method based on the western music noumenon structure. Secondly, the construction of this course is based on the music culture of ethnic minorities. We should not separate music from its social and cultural background, but provide a kind of cultural consciousness originating from the local but connected with the global. Combine the social and cultural resources that music creation depends on with the new music curriculum. Finally, learners can not only grasp the mother tongue, grammar, form and creation of minority music, but also integrate various unique factors in the cultural traditions of different nationalities to share the world music culture, so as to expand our culture, because the course is not only a tool to transfer knowledge, It is also a tool to create and re create us and our culture. This kind of systematic study must grasp the minority music culture as a whole. It should be pointed out that this curriculum system goes hand in hand with the existing western music curriculum system, and should be adjusted according to different majors in compulsory, elective, class hours and content. The curriculum can be considered from the following aspects:
) introction to minority music: history of minority music; The regional style characteristics of minority music; Minority local opera; The research on the biography of minority music
) music practice course: Minority Music dialect listening and singing; "Music creation" includes improvisation, singing and performance; Ethnic musical instrument performance; Song
dance music comprehensive course; Music style analysis
') (humanities course: Anthropology of music; The history of ethnic minorities; Philosophy of ethnic minorities; Ethnology; Folklore; Linguistics; Chinese philosophy; The history of Chinese culture; Chinese aesthetics; Music review; Visual art
) World Music: it can be divided into five continents. + Asia, (Africa)
- (America); (Europe) / (Oceania). According to this division, the country and
ethnic areas can be further divided. Compared with the local minority music culture, they identify with each other and communicate with each other
the construction of the theoretical system of multicultural music ecation for ethnic minorities is related to the behavior of the government, society and schools. The participation of the government is a necessary condition for coordinating all social forces. On this basis, we should establish special research institutions and perfect network relations, mobilize various factors and forces to design ecation reform plans, create various standards and curriculum frameworks with practical significance, work out evaluation systems corresponding to
standards, and put forward teacher development plans corresponding to them, and use all departments that have contact with art ecation Instry, people, such as cultural centers, cultural stations, local cultural experts and community resources to expand music ecation programs inside and outside the school and strengthen cooperation. Cultural communication that has an impact on Ethnic Minority Areas

5. Rock music has been developing for nearly half a century since the middle of this century. But what is rock music? Perhaps up to now, no one can make a complete conclusion with any description; Because some people think that rock music is a kind of hybrid music evolved from jazz, blues and folk music; However, some people think that rock and roll was originally endowed with a rebellious spirit, attitude towards life or an idea. But anyway, & quot; Rock Music" After more than 40 years of germination and growth of various types of schools, rock and roll music can present such a variety of styles and types today

generally speaking, after entering the 1990s, rock music has inherited the features of the 1980s and become more vigorous and rich. Many new derived music types or terms have emerged one after another and specifically described the new generation of music belonging to the 1990s. We can even say that after the 1990s, rock music is full of unknown potential and unexpected new forces

[the emergence and controversy of post rock]

in about 95, the American Village Voice magazine published an article written by Simon Reynolds, a British music critic. In this article, Simon mainly tried to describe a group of people with & quot; post rock 'in the mid-1990s; Drag City"、& quot; Trill Jockey"、& quot; Too Pure" The music of these underground bands is mainly composed of cool jazz, free jazz, ambient music and so on The b of reggae music, together with the progressive rock and Kraut rock styles of the 1970s, are the basic elements of their music creation experiments. In this context, there happened to be a group of local underground bands in Chicago, Britain, the United States and all over Europe at that time, which accorded with Mr. Simon's description; Post-Rock" For the time being, these avant-garde groups have the courage to break through the existing definition of rock music. I didn't expect that before long, some music magazines began to use & quot; Post-Rock" To officially call this group of new generation bands dedicated to the new aesthetics of rock music

after that, although post rock had a more formal name, in fact, at the beginning, many music magazines were basically unable to make certain about the music played by this group of people. For example, when Rolling Stone magazine introced these groups, it only used & quot; Instrument Rock" The main reason is that most of these bands prefer to play purely musical instruments and have no lead singer. However, some journals are also called
& quot because of their music style or origin; DroneRock"、& quot; Space Rock"、& quot; Out Rock"、& quot; Neo-shoegazer-rock" Or & quot; Kraut-Rock" And so on. However, & quot; Post rock & quot; When the name was officially adopted, it was still used systematically by the British music magazine wire; Post- Rock" After a large-scale introction, the whole so-called & quot; Post rock movement & quot; Only then slowly spread. But so far, there are still many critics or groups labeled as post rock bands who still hate or deny it; Post rock & quot; This is a noun. Because they don't think the label is enough to describe the music style they play; Even today; Post rock & quot; At the beginning, Chicago, one of its main bases, hardly mentioned the local alternative music publications or reviews; Post rock & quot; This term is used to describe the rising representative band tortoise or sea and
cake. What's more, many critics think that the so-called & quot; Post rock & quot; This concept has appeared as early as the 1970s, but these concepts are only contained in various non mainstream music schools and several key bands. At that time, they were only scattered creative concepts. Now, only through Mr. Simon's introction, can they be operated by the media and become a new generation of music

[basic concept of post rock]

what is the original definition of Mr. Simon? And the so-called & quot; Post rock & quot; What is it? It is different from the so-called general & quot; Rock music & quot; What's the difference? If & quot; Post rock & quot; Music is like & quot; Postmodernism & quot; Relative to & quot; Modernism & quot; Then it is mainly an attempt to subvert the basic concept and traditional structure of rock music, or even a negative resistance to the operation of the whole so-called music instry. For example, rock groups that also play electric guitar, drum and bass, but play & quot; Post rock & quot; However, it may turn into a completely different creative concept. In short, the so-called & quot; Post rock & quot; In fact, it is a kind of concept or theory to subvert the traditional rock music creation mode (such as theme bridge melody bridge). And if you've heard a little & quot; Post rock & quot; You may find that most of the theories they quoted are based on the so-called & quot; Deconstructionism & quot; Or & quot; Postmodernism & quot; Or & quot; Post structuralism & quot; It's a new concept. As a result, it's just like the opposite ten years ago; Deconstructionism & quot; Works, now if you look for all & quot; Post rock & quot; Band, then you may find that they don't sound like a band with similar or similar style (maybe in their mind, the style has already been broken or does not exist)

therefore, the definition Mr. Simon had in mind should be very broad, because when the Chicago band tortoise and sea and cake released the album of the same name in 1994, the two albums showed two quite different styles: tortoise was deeply influenced by the ideas of the avant-garde rock band can and the electronic experimental band kraftwerk in the 1970s, However, some works are directly influenced by modern music, minimalism (such as Philip Glass) or free jazz masters Miles Davis, Ornette Coleman and sun RA; As for sea and cake, it focuses on creating floating and low-key emotions; Even in & quot; Post rock & quot; Stereolab, which is well-known in the field of music, uses a lot of the keynote of pop music, and then deconstructs and reorganizes it into another style< However, in the past few years, some situations have changed. Grunge or alternative music is graally facing a decline, while electronica is graally rising. At that time, Mr. Simon regarded the concept as a new method of music creation, but now it has become the basic skills and common sense of electronic music; From Beck, a new generation of youth spokesperson, to mass attack, prodigy or chemical brothers, all of them should be influenced more or less; Post rock & quot; Group inspiration and influence. As a result, the post rock movement and the band that Mr. Simon referred to at the beginning have to move in a more difficult and avant-garde direction, and even some people have regarded this movement as an example of the failure of the experimental movement

however, despite such severe misunderstandings and disputes, Chicago groups such as tortoise, Gastr del Sol and tran am have published their representative works one after another to announce & quot; Post rock & quot; The time is coming. In addition to the album released from the independent brand of Chicago in 1994, the album "mills now living will never die" published by tortoise in 1996 was later regarded as a cross century classic by alternative press in the 1990s; The cold and precise gaster del Sol was named & quot; in camoufleur in 1998; Post rock & quot; New milestone; Even other less well-known European and American groups, such as dirty three, labradford, oval, UI, shellac, flying saucer attack, spiritualized, Mogwai, u.n.k.l.e, cul de sac, spectrum, Third Eye Foundation and so on, continue to have exciting works. If you pay a little attention, you even released a new album last year, The most influential R.E.M. band in the United States also began to learn from these post rock groups. Other mainstream groups with more sensitive noses, of course, are also aware of this new trend and see if it can be used in the next album. Of course, some media predicted that the next wave of new trends should turn to post rock music. And these & quot; Post rock & quot; The band will slowly surface. However, they are graally attracted by the mainstream. For those who adhere to their ideals and pursue avant-garde new ideas, they once again raise doubts and objections; Post rock & quot; The method that the group has experimented with has been used too frequently and has lost the significance of pursuing innovation Note 1)

[the last cross century revolution]

however, apart from those extremists, it is just like the original & quot; Post rock & quot; Of & quot; post-" Many of the phenomena of traditional rock music or its music instry are revealed in & quot; Post rock & quot; However, there are often subversive bands: for example, there are no Guitar Heroes worshipped by music fans, the role of guitar instruments in the works has been repositioned or cut down, there are no lyrics or lead singers at all, and there is often a lack of perfect three to four minute song range; Even the ultimate real purpose of the traditional record instry or some creators. An eternal classic popular single, to these & quot; Post rock & quot; In terms of groups, there is a lack of interest. Almost all the modes of the positive operation and control of the record instry, or the attitude and motivation of the creators under this ideology, can be said to be broken, subverted and deconstructed one by one

if the so-called & quot; Post rock movement & quot; Compared with the old traditional rock music, the future music world outlined by Mr. Simon is actually aimed at the current so-called & quot; Alternative rock & quot; Looking for or opening another new door to the embarrassment of the times: it is like a historical rumination on the development of rock music when it has reached a certain limit. In other words, after graally playing light guitar or four to six person pattern with the band, electronica
and & quot; Post rock & quot; It seems that the rise of rock music can be seen as another large-scale transfer and inheritance of the origin of rock music. Of course, spiderland, released by the American underground band slint in 1991, is a good starting point. If we push it forward and back, in addition to the music categories mentioned earlier, the & quot; Post punk & quot; New York in 1977 & quot; NoWave Movement" It doesn't matter. However, like electronica in the past two years,

6. Post rock is undoubtedly the dominant music type in the experimental rock movement which is deeply influenced by electro acoustic Instrumental Rock in the 1990s. There are a lot of experimental genres in post rock music: Kraft rock, ambient, progressive rock, space rock, math rock, tape music, minimalist classic, British IDM, jazz, and b reggae. In short, most of the music is based on rock music, But it's not rock music in essence
the music feeling of post rock music to the audience is completely opposite to that of rock music in the traditional sense. Its music is full of hypnotic and monotonous sound (especially in some guitar based bands), and even relatively bright music can make people feel calm and sober. The reason for this is that post rock was originally a response against rock, especially when the mainstream music instry assimilated alternative music. Many post rock bands were established under the same consciousness, that is, rock has lost its real rebellious consciousness, And it is difficult to extricate itself from its old pattern and empty posture. Later, rock rejected everything related to traditional rock music

post rock music focuses more on pure sound and timbre than on melody and song structure. Most of its works tend to be instrumental music. Even if there is a voice in the works, it is only a subsidiary of the overall music effect<

the post rock music foundation was established in 1991 with the publication of two completely different milestone works: "launching stock" by talk talk and "spider land" by slit "Launching stock" is the pinnacle of talk talk band after its transition from synthesizer pop music. Its music is an emotional and delicate integration of ambient music, jazz and minimalist chamber music; The music of spider land is full of deep thinking, bass driven grooves, murmuring poetic lyrics, obscure structure and extreme volume switching. These two works have influenced many later rock bands

the term "post rock" was coined by critics. Post rock was originally used by Simon Reynolds to describe the atmosphere music experiment in which barkpsychology was influenced by talk talk band. As a result, it was used to refer to bands that had never been classified, from bands that had the courage to break established traditions (such as Gastr, del Sol, cul de sac, main) to bands like stereolab, Indie rock bands like Laika and the sea and cake. Post rock is recognized by the public after the second album "mills now living will never die" released by tortoise band from Chicago in 1996. This work is perhaps the most extreme integration of various experimental elements of post rock. In this way, the post rock moment provided the critics with a way to distinguish different bands (artists) and their predecessors in this type. After that, post rock quickly became the cousins of indie rock of the same era, focusing on the brands of chill jockey, kranky, drag City, and too pure

ironically, in the late 1990s, post rock and roll gained the reputation of being stereotyped. Some people find this kind of music boring and lacking emotion. Others think that post rock and roll has become well-known without the original radical integration. This is partly e to the fact that many post rock and roll bands have little change in their original music ideas. However, even in this case of retrogression, the new round of bands (the dirty three, Rachel & # 39; s, Godspeed You Black Emperor!, Sigur Ros has been widely praised for its unique voice, suggesting that post rock music has not come to an end after all.

7. Li Chao 2, class F2, MBA 2010, Communication University of China. The history and current situation of mobile media in China. The development of mobile technology has directly spawned mobile media and greatly affected the development of mobile media. Mobile media is a personalized information dissemination carrier with mobile phone as the interactive terminal. It is closely connected with the Internet through wireless communication technology, and has outstanding characteristics of crowd communication, directional communication and interactive communication. In the mass media, compared with newspapers, radio, television and Internet, mobile media is called "the fifth media". The basic feature of mobile media is digitization, and the biggest advantage is mobility and convenience. Mobile media is an extension of network media. It not only has the advantages of high interactivity, fast transmission, cross regional communication and multimedia communication, but also has the advantages of privacy, high integration of communicators and media audiences. What needs special attention is that mobile media and mobile media are not a completely overlapping concept, nor a concept of who includes who, but two kinds of media with partial intersection, each with its own characteristics. The physical carrier of mobile media is mobile phone, which can be expressed as SMS, MMS, 3G video playback, WiFi video on demand and other forms; In addition to mobile phones, the physical carrying equipment of mobile media also includes notebook computers, PSPs, PDAs, public transport mobile media, etc. mobile media also includes 3G video playback, WiFi video on demand, but does not include SMS, MMS and other communication forms 1 The development history of mobile media in China in 1987, China Mobile opened 900MHz analog mobile phone service. In May 2000, China Mobile launched the SMS service, and the total number of SMS sent across the country rose rapidly from 18.9 billion in 2001 to more than 260 billion in 2005. Next, the new value-added service "MMS" appeared. Then mobile phone RBT became popular in China. On February 24, 2004, renmin.com launched the first wireless news network of NPC and CPPCC with mobile phone as the terminal in China. Since 2004, China Unicom and China Mobile have started to provide mobile video services. On July 18, 2004, China Women's daily launched the first mobile newspaper in China, China Women's daily (MMS). In November 2004, China's first real mobile phone novel distance went online. In March 2005, Beijing's first film series "agreement" for mobile phones started shooting. In September 2005, China Central Radio cooperated with China Unicom and Shanyi to launch "mobile broadcasting". On November 7, 2006, Xinhua news agency opened "Xinhua mobile news". By the end of 2009, the number of mobile phone users in China had exceeded 726 million. Among them, China Mobile has 522 million subscribers, China Unicom 147.6 million subscribers and China Telecom 56.09 million subscribers. According to the report of China Internet Network Information Center (CNNIC), the scale of mobile Internet users in China continued to expand. As of June 2010, the number of mobile Internet users reached 277 million, an increase of 43.34 million in half a year. The proportion of mobile Internet users in mobile phone users and overall Internet users has further increased
cultural instry research assignment Li Chao, class F2, MBA 2010, Communication University of China 3 (2) the current situation of mobile media in China 1. The communication channels of mobile media are limited. China has not only GSM and CDMA networks in 2G era, but also three 3G networks of China Telecom's CDMA2000, China Unicom's WCDMA and China Mobile's TD-SCDMA. However, the above mobile media communication channels are mainly controlled by three mobile operators, China Mobile, China Unicom and China Telecom, showing a high degree of concentration and barriers, and the interest orientation of mobile operators is obvious, There are great differences in network standards, and the cross network compatibility is not optimistic. 2. Mobile media content providers are alistic. The content providers of mobile media are mainly divided into two categories, one is mobile operators, the other is mobile websites. Mobile operators mainly adopt SMS, MMS, mobile newspaper and other limited means of communication. Mobile website provides rich content, such as music, video, community, games and so on, but the number of sites is small, and the audience's selectivity is low. Operators benefit from their channel advantages, and currently occupy a relatively strong position, but in the long run, mobile websites will graally gain more market share, and the situation of sharing the world may be just around the corner. 3. The development of mobile media content is subject to the technical conditions of communication channels. The maximum transmission speed of 2G network is 115K / s, which can guarantee the basic call needs, but the support for multimedia applications is rather weak. The planning goal of 3G network is to support at least 2m / s, 384k / s and 144K / s transmission speed in indoor, outdoor and driving environment, which can meet the needs of most mobile media content transmission technology. 2009 is the first year of China's 3G, 3G network officially began commercial operation, since then the development of mobile media has a solid technical foundation and stable communication channels. 4. The development of mobile media content. From the perspective of mobile media content, it mainly focuses on entertainment and leisure applications, such as instant messaging, search, social networking, literature, video, news, music, games, etc. The utilization rate of office applications such as mobile mail and mobile payment is low. This is completely consistent with the situation that ordinary people are the main body of mobile Internet users, and the market of high-end business crowd needs to be further developed. In the first half of 2010, mobile instant messaging (such as mobile QQ, mobile MSN, etc.) was still the most popular among various applications of mobile media, with a utilization rate of 61.5%. The high stickiness and large scale of users of instant messaging tools strongly ensure that the demand of mobile instant chat will last forever. Mobile search ranked second, accounting for 48.4%. Due to the limitation of mobile screen size and network transmission speed, mobile browsing website performance is poor, and text input is not very convenient compared with computer keyboard, so mobile Internet users are used to go to other kinds of content pages through a single network navigation interface. Search and navigation applications continue to play an important role as mobile network portals. China Unicom, Internet, Google, easy search, cgogo and other state-owned, foreign-funded and private enterprises are competing to get involved in the mobile search business,
cultural instry research assignment Li Chao 4, class F2, MBA 2010, Communication University of China, is generally optimistic about the rapid and sustainable development of this business. The utilization rate of mobile social networking sites was 35.5%, showing good growth. Mobile Internet mostly refers to and imitates the successful experience of computer Internet. The socialization of computer Internet is the trend of the times. I believe the socialization of mobile Internet will also follow. The utilization rate of other content is: mobile online music 45.3%, mobile online literature 43.3%, mobile online games 21.1%, mobile online video 20.4%, mobile email 16.0%, mobile online payment 6.1%. 5. Mobile media has a far-reaching influence on news communication. In the era of mobile media, the proction and dissemination of news is no longer monopolized by journalists. With the help of mobile phones, the concept of journalists can be expanded to the maximum. Everyone can become a reporter, and everyone can become a procer and communicator of news. Mobile phone users usually participate in news proction activities as indivials. They have no pressure of social responsibility and pursue self-expression, which subverts the traditional news proction process and rules. Moreover, the mobile media eliminates the time and space constraints, realizes the dissemination of random, at any time, makes the news communication more indivial behavior, and also makes the news communication complete the transformation to the multi-directional interactive communication mode 3 The problems and limitations of China's mobile media instry 1. The coexistence of two generations (2G, 3G), five network systems (GSM, CDMA, CDMA2000, WCDMA, TD-SCDMA) and three mobile operation companies, to a certain extent, makes it more difficult for mobile media to form a unified instry technical standard, technical specification and operation criteria. 2. The technical conditions of mobile phone hardware itself, such as operating system, CPU processing speed, memory capacity, screen size, battery capacity and so on, also play a certain adaptive restriction on the development of mobile phone media. How big is the physical platform to accommodate the media content. 3. The emergence of mobile media makes the media ecology more complex, the differentiation of users more obvious, the main body of communication more diversified, and the control of public opinion may be further weakened, which puts forward new challenges on how to build an effective public opinion control mechanism. 4. The abuse of false information, yellow information and junk information, invasion of personal privacy and other bad behaviors impact the infant mobile media. It is urgent to develop a technical shielding system and establish an effective regulatory system. 5. The professional quality of mobile media practitioners is not high. Mobile media is a new thing, is a special comprehensive media, covering the text, audio, video and other fields of knowledge and skills, so the quality requirements of mobile media practitioners are relatively high, not the ability of temporary patchwork personnel
cultural instry research assignment Li Chao, class F2, MBA 2010, Communication University of China 3. Prospects and suggestions for the development of mobile media in China 1. In the future, China will graally complete the overall transformation of 2G to 3G network, broaden communication channels, and greatly increase network bandwidth, The security and privacy of information dissemination can be guaranteed, and various technological innovations will inject more power into the development of mobile media. 2. The competition of future media is the competition of digital information. The competition of digital information is mainly the competition of digital content. For mobile media, the limitation of media channels also determines its importance. Channels and digital content are the left and right hands of mobile media, which should not be neglected. We should grasp both hands and be hard at both hands. 3. The application practice of Shanghai Mobile shows that mobile newspaper, mobile music and mobile TV may become "star procts" in mobile media, which should be paid more attention to. 4. All kinds of enterprises and institutions should learn to use mobile media, especially in today's sudden, diversified and instant public opinion ecological environment. They should actively follow the law of news communication, improve communication efficiency, and strive to grasp the opportunity of public opinion guidance. 5. For the management of mobile media, we should respect its characteristics, innovate media management methods, not only to promote the rapid and sustainable development of mobile media, but also to ensure the healthy and stable long-term of mobile media, so as to pay equal attention to development and standardization. 6. Mobile media how to do a good job of advertising services is also a big problem. The establishment and improvement of the supervision system of radio and television, communications, instry and commerce, taxation and other government departments on mobile media and the rection of policy risks play an important role in the standardized development of mobile advertising instry. 7. Accelerate the training of comprehensive mobile media practitioners, and establish and improve the unique acquisition and editing system and operation management system of mobile media as soon as possible. 8. In the audience of mobile media, teenagers aged 10-30 are the absolute main force, accounting for more than 70% of the mobile Internet users. The effective development of the market of the young and middle-aged group over 30 years old will be the key to greatly expand the development space of the instry in the future. To sum up, mobile media is more dynamic than newspapers, more convenient than TV, more vivid than radio and more convenient than computer Internet