Reflections on the Cultural Philosophy of Traditional Chinese Music Education Discourse

Source: Music Research

Any academic research is influenced and constrained by a particular discourse system. Any discourse system generally contains specific languages, symbols, knowledge, concepts and ways of thinking, etc., which is the external expression form of the ideological theoretical system and knowledge system, and presents the way and method of complete expression. As Foucault said: "When we speak, it seems that we have the initiative, and we are taking the initiative to say something, but because man is constructed by various powers and discourses in this society, he is no longer the natural state of birth, but the product of various constraints and systems in society." ”

In recent years, the aphasia of Chinese educational discourse, the Westernization of Chinese educational academic discourse, and the construction of educational discourse with Chinese characteristics have become the focus of discussion in the field of education. The discourse of music theory and the discourse of music performance have become the concerns of the musicological community. These discourse studies have promoted the research of music education discourse with the dual attributes of pedagogy and musicology, especially the research of traditional music education discourse in the context of the revival of traditional Chinese culture. This paper intends to conduct philosophical reflections on the discourse of traditional Chinese music education from the perspective of cultural modernization, in order to provide a reference for the construction of traditional music education discourse.

The so-called "cultural modernization" is: "The composite process of the formation, development, transformation and international interaction of modern culture, the composite process of innovation, selection, dissemination and withdrawal of cultural elements, and an international competition in which different countries catch up, achieve and maintain the world's forefront status of cultural development." Some scholars believe that the development of cultural modernization has gone through three stages of development: "classical modernization, post-modernization, and second modernization", and the three stages of traditional music education discourse have presented different themes and themes.

I. Classical Modernization: The Aphasia and Dependent Development of Traditional Chinese Music Education Discourse

In the theory of modernization, the shift from agricultural civilization to industrial civilization is called "classical modernization". This theory adheres to the position of Western modernization, examines the modernization development of non-Western countries from the perspective of Westerners, and uses the modernization changes of Western societies as a frame of reference to study the modernization problems (including cultural modernization) in developing countries.

In modern times, the source of school music knowledge discourse and educational discourse is in the West, so it is difficult for the music education discourse system to get rid of the influence of Western classical modernization theory, which in turn has led to the discourse aphasia and its dependence development of traditional music education, which is mainly reflected in the following four aspects.

First, the western cultural centrism has contributed to the establishment of Western music and its educational discourse. Since the Opium War, after the door of the country was opened by the strong guns of the West, China began to learn from the West, especially europe and the United States, to modernize. It can be said that the modernization of Chinese culture takes "Yi as a teacher" as the historical starting point. In the specific historical context at that time, Chinese people of insight set their sights on the pursuit of modernization to the West, and the introduction of Western studies broke the traditional way of thinking of the Chinese people to understand the world, and people began to generally accept the cognitive system of Western culture. The same is true of music education in the mainland, which began with the music of the academy, which is based on Western music theory and its educational discourse system, such as basic music theory, sight singing ear training and other knowledge discourses, singing, instrumental music and other performance discourses, scientific and rational curriculum and teaching discourse, etc., all of which are mainly constructed as advanced and scientific Western music knowledge, so the "Western music centrism" has been formed, and continues to this day.

Second, the progressive view of history has formed the concept that traditional Chinese music education discourse is "backward". Classical modernization theory is based on the theory of social evolution, adhering to the monistic and single-line view of history, "all cultures have the same starting point, and will also go through the same stage of development or progress and eventually tend to the same goal, but different cultures in the same period show different stages of development." This progressive view of history relies on a grand narrative of modernity, the modern epistemology. The monolithic single-line epistemology adhered to by the progressive view of history is expressed in music education as regarding the polyphonic expression system of Western music as a higher stage in the development of human music culture, while the monophonic expression system of traditional Chinese music is regarded as a low-level stage in the development of musical culture. On this basis, the linear process of Western music history has replaced the pluralistic parallel progress of world music history, and the single scientific system of Western music education has replaced or denied the necessity of the existence of traditional music inheritance systems in various countries in the world. It can be seen that the traditional Chinese music education discourse under the progressive view of history is in a "backward" and "low-level" position in school music education.

Third, the spirit of rationality is respected, which establishes the "scientific nature" of Western music education discourse. The emphasis on the spirit of reason is an important symbol that distinguishes it from tradition and modernity. Max Weber, a representative of classical modernization theory, argued in his Social and Rational Foundations of Music: "Once Western music acquires autonomy, it embodies the rational principles of harmony, polyphony, and counterpoint. Modern notation has greatly contributed to the widespread popularity of musical performance, but the space for 'irrational' improvisation has become smaller. Further, the invention of some special instruments also laid the necessary material foundation for the ever-increasing rationalization of Western music. The prominence of the spirit of reason has led to the promotion of scientific cognition, because knowledge is "rational people's understanding of the regularity of the world." The idea of scientific rationalism has influenced the development of Chinese music since the 20th century. At the beginning of the 20th century, the academy music emerged in the context of learning from Japanese music education and learning Western music, and the scientific nature of music attracted much attention during this period. For example, Zeng Zhichen mentioned in his 1904 book "On Music Education": "In recent times, music has been recognized as a science, and if the husband is known as a science, he is a researcher, and Anke does not know its definition." With the outbreak of the "May Fourth" new cultural movement, the scientific trend of thought echoed with the trend of learning Xile at that time, and began to continue to influence the development of Chinese music at that time; As well as the use of Western scientific research methods to study Chinese music, it is often mentioned by scholars, such as Xiao Youmei pointed out: "Music science is the study of music with scientific methods." In addition, in the practice of music and the improvement of Chinese music and the creation of new music with Western music research methods, the idea of scientism is embodied, which has influenced and dominated the intellectual discourse of music education since the 20th century. Traditional Chinese music and its educational discourse are rejected because they do not conform to or lack the "scientific nature" of Western rational culture.

Fourth, the epistemological thinking of "subject-object dichotomy" has led to the development of dependence on traditional Chinese music education discourse. The so-called "subject-object dichotomy" epistemology is that the subject can arbitrarily cut and classify objects for cognition. People's cognition of the world can objectively abstract the relevant "laws" from all things, and use this "law" as a universal truth that is universal and universal. Classical modernization theory generally regards "modern" as the subject and "tradition" as the dichotomy of the object, embodying the epistemological thinking of "subject and object dichotomy". This dichotomy has led to the dualistic antagonism between tradition and modernity as "either-or" between "advanced", "advanced", "advanced" and "backward" and "inferior". The epistemological thinking of "subject-object dichotomy" also brings about the subjective existence of Western music theory and its educational discourse in the discourse of music education, while non-Western music theory and its educational discourse exist as objects; As the "subject", the Western music theory discourse and its educational discourse can standardize, discipline and interpret the traditional Chinese music education discourse as the "object". The discourse of music education under the guidance of the epistemological philosophy of "subject and object" has led to the dependent development of traditional music theory and its educational discourse, that is, taking Western music discourse as the mainstream, but paying attention to attaching traditional musical discourse to it and forming a "national additional model" as an object, whether it is notation, music analysis, or even national instrumental music and national vocal music education discourse, all of which are fixed in the West as the main body.

Post-modernization: the cultural subjectivity of traditional Chinese music education discourse

Western cultural centrism places Western culture on top of the world, looking down on all non-Western cultures in an authoritative posture, pursuing a grand narrative and essentialism. Since modernization began in the West, people often equate modernization with Westernization, which undoubtedly promotes the spread of Western cultural superiority and Western cultural centrism, as if Western-style modernization is the only model of modernization. The criticism and deconstruction of Western cultural centrism has always been an important part of postmodern cultural research, which has greatly promoted people's awareness of cultural diversity, and has also gradually attached importance to traditional culture that has been suppressed by Western cultural centrism, and advocated equal dialogue between different cultures.

In the field of pedagogy, some scholars have put forward the idea of "root education", that is, "the identification with the cultural traditions of the nation is to absorb nutrients from the fertile soil of local cultural traditions". The "rooted education" advocated by postmodern generations focuses on respect for cultural differences and openness to others, and attaches importance to the traditional cultures of various peoples and their wisdom. Observing the discourse of school music education with this kind of thinking is to rediscover, reinterpret and reconstruct the "rooted" traditional music education discourse system, because the objective, scientific and universal representation of Western music education discourse has contributed to the standard and systematic "grand narrative" and spawned the "homogeneous" phenomenon of music knowledge, teaching and other discourses. The knowledge, teaching and other discourses of traditional music itself are excluded because they do not conform to the rational characteristics of Western music education discourse, and they are disciplined by Western music education discourse, which eventually leads to the "rootless" phenomenon of traditional music education discourse. Therefore, starting from postmodernism, the traditional music education discourse of "rooted" is to rediscover, reinterpret and reconstruct the unique cultural subjectivity including musical thinking, inheritance mode, values, aesthetics and sound concepts.

The so-called "cultural subjectivity" is that "the autonomy, selectivity and creativity of the cultural subjects of a certain culture in order to grasp the autonomy of the development of local culture itself, when dealing with the relationship between local culture and foreign culture, are embodied in the ability to fully affirm their own cultural value, correctly recognize foreign culture and actively innovate their own culture". The "subject" of cultural subjectivity is not an independent category, and it often forms an interdependent and coexistence relationship with the "object". Western epistemological philosophy is dominated by the epistemological thinking of "subject and object dichotomy", while traditional Chinese cultural philosophy is dominated by the epistemological thinking of "subject and object integration". However, the "subject-object dichotomy" thinking of Western epistemology has had a profound impact on the development of Chinese culture, including the development of music culture, since modern times, and it often dominates and dominates traditional Chinese culture with the identity of "subject" as the object. This dislocation or inversion of the subject-object of culture has led to the obscuration of the subjectivity of traditional Chinese culture, that is, its own culture needs to be understood through the "crutch" of other cultures, such as the grammar, notation, ontology of traditional music, etc. are inseparable from the "crutch" of Western music theory. Therefore, in the construction of traditional Chinese music education discourse, first of all, there must be a strong sense of autonomy, starting from the subject of self-culture, and in the dialogue and exchange with other cultural music discourse and educational discourse, there is a consciousness of independently choosing the direction of development of music culture, that is, clarifying the problem of "who am I", which is the core content of the cultural subjectivity of traditional music education discourse; Secondly, it emphasizes the uniqueness of traditional music education discourse, that is, the traditional music education discourse and the different content of other cultural music education discourses, such as the uncertain notation method in traditional music education and the teaching behavior of oral teaching, which are different from the precise notation method and scientific rational teaching behavior of Western music education, which is the uniqueness of traditional music education discourse; Third, it is the integration of traditional music education discourse and music education discourse in other cultures, that is, the integration of cultural subjects on the basis of his cultural absorption, which means that the traditional music education discourse subjects can not only absorb and integrate the reasonable components of music education discourse in other cultures as part of them, but also maintain their own cultural subjectivity status, such as the precision and uncertainty of the unified teaching behavior formed by the integration of Western scientific rational teaching discourse and traditional music non-scientific rational discourse.

In the 1990s, the music education community put forward the "music education with Chinese culture as the mother tongue", which highlighted the call for the cultural subjectivity of traditional Chinese music education discourse, which was discussed by many scholars. Wang Yaohua believes that music education with Chinese culture as the mother tongue must establish a theoretical system of Chinese music education that includes many aspects such as philosophical foundation, way of thinking, aesthetics, morphology and values, etc. "This theoretical system is not to 'integrate' into our own national things in the system of others, but to establish a music theory system that can summarize our own national music laws and stand on its own feet among the nations of the world." Guan Jianhua believes: "Music education with Chinese culture as the mother tongue is composed of different musical styles and contents of various ethnic groups and regions in China, and has a profound cultural and philosophical foundation such as the spirit, psychology, behavior, art, way of thinking, aesthetic ideals and values of the Chinese nation. "It includes the musical ontology, the historical view of musical style, the philosophical view of music culture, as well as the training of basic sound sense, the acquisition of music operation, the study of music basic courses, and the curriculum construction of music theory courses." The above discussion highlights a common feature: the construction of mother tongue music education based on Chinese culture as the main body, including philosophical foundations, ways of thinking, aesthetics, values, music views and teaching views. Here, the emphasis is placed on the cultural subjectivity of traditional Chinese music education, not only to add traditional music content, but more importantly, to infiltrate the thinking, philosophical view, historical view and other contents that reflect the subjectivity of traditional music culture in music education, such as the unity of musical score symbols as objects and the main body of singing performance, the organic holistic view of music on the theory of mentality, the aesthetics of neutral music, and the music teaching behavior of improvisation and oral transmission.

In addition, the cultural subjectivity conversion that emphasizes the discourse of traditional Chinese music education is not to deny and reject the Discourse of Western Music Education, but to engage in a dialogue with each other as the main body, so as to get out of the discourse of the duality of Chinese and Western music culture and Chinese and Western music education systems. Because there is no error in Western music theory and its educational discourse itself, existence is reasonable, and the error is to take Western music theory and its educational discourse as the "only" subject of music education discourse, and to interpret, standardize and discipline traditional Chinese music education discourse and make it an "object", which in turn leads to its aphasia and dependence development.

Under the guidance of the Western classical modern progressive concept, the relationship between Chinese and Western music is "gap" rather than "difference"; However, from the perspective of postmodern culture, the relationship between Chinese and Western music is a "difference" rather than a "gap", and the difference between Chinese and Western music culture determines the difference in Chinese and Western music education discourse. Acknowledging and respecting differences is the basis of the discourse dialogue between Chinese and Western music education, "a dialogue to be meaningful requires a common foundation, that is, an appreciation of the consistency and difference revealed in the process of exploration." Therefore, the construction of multicultural dialogue is the key to rediscovering the discourse of traditional music education, because it is impossible for the thinking of traditional Chinese music education discourse not to pay attention to Western music education discourse, on the contrary, it is precisely because of the "mirror image" of the West that the uniqueness of Chinese traditional music education discourse can be presented, which requires the interactive cognition and two-way interpretation of Chinese and Western music education discourse, that is, first of all, to understand the Western music education discourse, and then to further understand the Chinese traditional music education discourse from the dimension and horizon of the discourse. For example, in the discourse of music teaching, the discourse of music teaching under the guidance of scientific rationality focuses on the "logical paradigm", that is, "through induction, the specific content of objective things is emptied, summarized into the most minimal common form, and finally reduced to the absolute spirit of the metaphysical Logos or Hegel, and then through 'deduction', different specific forms are developed". The music teaching discourse of the "logical paradigm" often uses specific music teaching rules as the basis to teach music in any culture, such as accurate singing (playing) according to the score, music analysis and aesthetic perception of The Cow. This kind of teaching discourse that pursues certainty, standardization and science adapts to the teaching of scientific and rational music education in the era of industrial civilization and has certain value and effectiveness. However, when this kind of teaching discourse is applied to traditional music education, it is easy to obscure the cultural attributes and teaching attributes of traditional music, such as the teaching of folk songs based on stave notation, due to the excessive pursuit of the accuracy of singing according to the musical score, the "sound cavity" closely related to folk songs and language is easily filtered, and its charm is also dissolved. Traditional music teaching discourse should also be rooted in traditional cultural philosophy, for example, the uncertainty of traditional Chinese culture and the "cosmology generated in chaos", which emphasizes that the meaning of all things is not immutable, nor does it necessarily have a predetermined standard answer, but forms the answer and meaning in a kaleidoscopic interaction relationship and an infinite possibility of uncertainty. Everything is formed from this formless and imageless "chaos," that is, "being born out of nothing." This kind of cultural philosophical thought permeates traditional music education, that is, it pays attention to the overall intuitive experience of "oral transmission", attaches importance to improvisational creativity in the behavior of music operation, emphasizes the auxiliary nature of musical score symbols (dead score live singing), etc., which is a typical "phenomenological paradigm", "The object of the phenomenological paradigm study is not abstract forms, but first of all a concrete 'body', a body that exists and acts alive, feeling pain and pleasure, and everything around it is not fixed. Rather, it changes with the mood and perspective of this body. The phenomenological paradigm holds that there is not necessarily a fixed and unchanging essence behind the phenomenon, it is concerned with the uncertainty of things, the postmodern critique of the "deterministic" concept of traditional epistemological philosophy, affirming "uncertainty", and focusing on the dynamic improvisation process rather than the rigid static result, which just complements the "logic paradigm" music teaching discourse of Western scientific rationality.

Comprehensive Modernization: The Creative Transformation of Traditional Chinese Music Education Discourse

At present, the developed countries in the West have entered the second modernization from industrial civilization to post-industrial civilization. Because China's modernization is a late-developing exogenous type, the development path is tortuous and the time is short, therefore, China's modernization cannot completely copy the path of Western modernization and development, and moving toward "comprehensive" is the only way for its development, and the same is true for cultural modernization. "Comprehensive cultural modernization is a composite process of innovation, selection, dissemination and withdrawal of cultural elements, a joint interaction and continuous transition to knowledge culture of two cultural transformations (from traditional culture to modern culture and from modern culture to postmodern culture), and is an international competition in which developing countries catch up with the world frontier position of cultural modernization."

The development of comprehensive cultural modernization is not only based on tradition, but also includes modern and post-modernization, which is a comprehensive modernization development of tradition, modernity and postmodernity. Therefore, the construction of traditional Chinese music education discourse in the context of comprehensive modernization should not only highlight its cultural subjectivity, but also carry out creative transformation to adapt to modernity, because "China's modernization is not a total negation of tradition, but to a greater extent, it is the transformation and 'use' of tradition, and it is the 'regeneration' of tradition in modern times."

The so-called "creative transformation" means "to transform some symbols and value systems in Chinese cultural traditions, so that the symbols and value systems that have undergone creative transformation can become seeds conducive to change, and at the same time, in the process of change, continue to maintain cultural identity." The creative transformation of culture should not only be based on the recognition of its own cultural traditions, but also use multiple thinking modes to reorganize or transform some traditional symbols, values, thoughts and behaviors to adapt to the development of modern society. The object of reorganization or transformation is part of the content of the tradition, but not all, and although this reorganization or transformation is influenced by foreign cultures, it is not all copied from foreign cultures and loses the identity and identity of its own culture.

The creative transformation of traditional Chinese music education discourse should clarify two basic starting points: First, we must have a deep understanding of traditional music education discourse, understand its origin and authenticity, strive to make full use of its strengths and avoid shortcomings, and practice "cultural consciousness" in keeping pace with the times, that is, to grasp the overall grasp of the source, evolution, characteristics and development trend of traditional music education discourse, and to rationally grasp the relationship between traditional music education discourse and other ethnic music education discourses; Secondly, the creative transformation of traditional music education discourse must have a "double open mind", that is, in the era of globalization, it is necessary to form an open consciousness of its creative transformation, which not only breaks through the stereotypes and bad customs that imprison and restrict the development of traditional music education discourse, but also fully draws on and absorbs the reasonable components of music education discourse in other cultures, so as to enhance the vitality and epochality of its own discourse development. As the American philosopher Cobb put it: "Every culture gradually undergoes a creative transformation, and based on this creative transformation develops a new culture, which includes many diversities, always oriented to new transformations, but still has its own firm beliefs." ”

Modernity is the core idea of cultural modernization, and the British sociologist Giddens believes that "since the diversity of world cultures is a whole, it is possible to make multiple reactions to the system of modernity." This shows that the development of modernity is diversity, not The uniqueness of the West, therefore, the key to the creative transformation of traditional Chinese music education discourse is to explore the modernity discourse of its existence and make it interpreted in a modern sense, only in this way can the traditional Chinese music education discourse be activated and innovated in modern society, because "modernity exists in all traditional cultures and can constitute a new mode of thinking, sensory mode, and value that is conducive to the development of human society and stability (or balance)." In the discourse of modern music education dominated by Western scientific rationality, Western music knowledge is endowed with universal and objective knowledge because of its scientific nature, which is embodied in music education, that is, it is a written objective and fixed inheritance education paradigm. The discourse of traditional music knowledge, such as uncertain notation, singing/playing with the characteristics of "sound cavity" and "acting and creating", flexible rhythm beats and other musical knowledge) is rejected, disciplined, and even lost its original meaning by Western music knowledge discourse because it does not have scientific and normative nature. Foucault argues that knowledge is linked to power, and that "when power disciplines the individual, it necessarily produces a discourse of knowledge that proceeds from the individual and focuses on the individual, objects the individual, and predicts all subjective experiences." "Behind the domination of western music education discourse as the subject of traditional Chinese music education discourse, the hegemonic issue of Western music knowledge discourse is permeated. As the contemporary concept of knowledge shifts from scientific to cultural, the cultural nature of knowledge also shifts, and the cultural nature of knowledge shows that any musical knowledge, such as the knowledge of the rhythm, tone, score, and instrument of traditional music, has a specific theoretical system, value system and cultural elements such as language symbols, and is subject to the cultural traditions and cultural models in which it is located. As the International Institute for Music Education's Policy on World Cultural Music states: "Music can only be best understood when it is placed in the context of society and culture and as part of culture." A proper understanding of a culture requires an understanding of its music, and the correct evaluation of a music requires some knowledge of the culture and society associated with it. "The cultural shift of contemporary knowledge discourse requires that the knowledge discourse of traditional music education should be based on the traditional culture in which it exists, explore its modern significance from the original knowledge genealogy of traditional music and make modern interpretations, so as to carry out the creative transformation to adapt to modern music education." For example, understanding the cultural context of traditional music through folk activities, and the contextualization, simulation and revitalization of traditional music presented by "Internet +" all highlight the cultural understanding turn of music knowledge discourse, which is actually a creative transformation to adapt to modern education.

Curriculum construction is an important issue in the modernity of traditional music education discourse, because the curriculum is the carrier of cultural inheritance. Due to the influence of Western music knowledge and its educational discourse, the discourse of traditional music courses basically belongs to the "national additional model", and the "sound, concept and behavior" of interpreting traditional music with Western music discourse as the standard is still prevalent, which seriously splits the close relationship between traditional music and the traditional cultural soil outside the school. With the "understanding paradigm" shifting in the development of contemporary curriculum theory, the discourse of traditional music curriculum will shift from the "national additional model" of Western music cultural subjects to the "understanding paradigm" of conceptual reconstructionism based on traditional culture.

Since the 1970s, the field of international educational science has shifted from exploring the "universal" laws of education to exploring the meaning of "contextualized" education, which is from the "development paradigm" dominated by the "Taylor Principle" with scientific and technological rationality to the "understanding paradigm" of politics, race, gender, phenomenology, postmodernity, biography, aesthetics, theology and institutions in the field of curriculum research. As Piner puts it: "To understand the contemporary curriculum field, it is necessary to understand the curriculum field as discourse, as text, and as words and ideas in the simplest but most profound way." Pine's "understanding curriculum" is actually a curriculum study of the "conceptual reconstructionist curriculum paradigm", which highlights the contemporary curriculum discourse system trying to get out of the universal and uniformity law, and then turn to a contextualized and diversified curriculum discourse system. This turn to "connectivity" to the study of music education discourse, that is, to build a music curriculum discourse system with traditional cultural characteristics, this curriculum discourse construction, can use the phenomenology emphasized by "suspending" Western music discourse, go deep into the traditional music culture, explore and construct its own discourse system. For example, the discursive problem of "what is music" in school music education is mainly limited to "music is the form of musical movement", and there is less interpretation of the close relationship between the "sound" and language of traditional music. Therefore, the "understanding curriculum paradigm" of conceptual reconstructionism will enable us to rediscover and interpret traditional music discourse, such as the "big classroom, middle classroom, small classroom" of traditional music teaching, "please come in, go out", "dual musicality and bilingual teaching", etc., which break through the cognitive limitations of traditional music discourse in schools, including the concept of music sound, music teaching operation behavior, and music ontology, etc., promote the diversity of traditional music discourse understanding, and promote the creative transformation of modern educational discourse.

The "Understanding Curriculum Paradigm" focuses on intercultural dialogue, as Pine puts it: "The curriculum is 'complex conversation.'" The "understanding" in the "understanding curriculum paradigm" not only includes the educational discourse of understanding the existence of traditional music from the culture on which it exists, that is, what we often call "interpreting the middle in the middle"; It also contains the observation of other cultures, that is, the "convergence of horizons" understood by different cultures, which not only loses the cultural subjectivity of the traditional music education discourse itself, but also generates new "horizons" in dialogue with other cultures to expand their discourse and achieve creative transformation. If we completely "interpret the middle in the middle", we may not be able to fully activate the discourse of traditional Chinese music education, because the discourse of traditional Chinese music education is not set in stone, and it is difficult to grasp the pulse of the actual development of traditional Chinese music education discourse by using the unchanged "discourse" to explain the changed "discourse"; If we completely "interpret the Chinese in the West", we may not be able to fully realize the creative transformation of traditional Chinese music education discourse, because the uniqueness of traditional Chinese music education discourse itself is easy to be disciplined by the "other", which will inevitably cause misreading and misunderstanding of its discourse. The complete denial of "Ezekiel Interpretation" will lead to the non-existence of a certain degree of irreducability between Chinese and Western music, and will make the traditional Chinese music education discourse lose the opportunity for self-improvement and expansion and become complacent. Therefore, the discourse construction of traditional Chinese music courses must avoid the drawbacks of one-way "interpretation of the west" and "interpretation of the middle of the middle", and move towards the mutual observation of the ancient and modern of China and the West, that is, starting from the discourse of traditional Chinese music education itself, clarifying the uniqueness of its discourse through the interactive application of "taking the west to interpret the middle" and "interpreting the middle with the middle", and achieving creative transformation in the "vision integration" of dialogue and understanding with the discourse of other cultural music education.

Emphasizing the modernity of traditional music education discourse is intended to break through the monopoly of scientific rational modernity thinking and its theories, as well as the dualistic opposition of "tradition-modernity", because "between tradition and modernity is a continuous 'continuum', which is constantly cut and cannot be cut." Modernity can take different forms, "We cannot see global modernization merely as the result of Western modernity, but also as the result of the responses and strong resistance of other cultures and civilizations in the face of the West." "The development of modernity in various countries in the world is gradually moving out of the monopoly of Western modernity, and countries are exploring the path of modernity suitable for the development of their own modernization according to their own national conditions," It is wise to regard Western modernity as a form of modernity, rather than defining modernity as Western modernity. ”

Conclusion: If emphasizing tradition is a kind of "return to the original", then creative transformation is a kind of "opening up the new", and only in the "return to the original and opening up the new" can the traditional Chinese music education discourse show Chinese characteristics, Chinese style and Chinese style. Only when traditional Chinese music education has its own unique discourse system can it have an equal dialogue with other cultural music education discourses and form a complementary and lush development trend. Only in this way can we get out of the "dependency" barrier of Western music education discourse, and build a relatively independent discourse system of traditional Chinese music education that is not inconsistent with Western music education, so as to enhance the international discourse power of traditional music education, which is the natural demand for the construction of traditional music education discourse in the context of the current era of traditional Chinese traditional culture revival.

Originally published in Music Research, No. 5, 2020.