Reform And Teaching Of Ethnic Bass Instrument

With the development of folk music and innovation of ethnic instrument, the exploration of ethnic bass has increasingly become an important issue. The late Premier Zhou Enlai was also of great interest to ethnic bass refom and pointed out that "[we should] develop our own bass, which is not only beautiful in shape but also of ethnical characteristics, and has its own playing methodology."For decades, many predecessors have paid a great effort. I will summarize the development of Chinese ethnic bass from four perspectives, namely, the exploration and innovation of its form, playing, creation and teaching, in an objective and comprehensive manner.The paper is divided into three chapters. The first chapter is the ethnic bass reform, introducing the reform process of the Gehu, and other instruments. The second chapter is the teaching and performance of bass nationalization, which presents an overview of the inclusiveness of the Chinese music culture and explores the feasibility of bass nationalization. This chapter will also review the composing, teaching materials compiling and courses designing of Chinese bass, the Beijing International Bass Music Festival, the contribution made by the Chinese Bass Society in terms of bass nationalization teaching and performance. The third chapter is the review and reflection on the reform of ethnic bass, which presents my thinking and recommendations on the ethnical bass reform and teaching.With the honor of being a graduate of the China Conservatory of Music in bass, I think I have the responsibility to summarize and review the hardships of the ethnical bass’s development process over more than half a century, on the basis of which, we can learn lessons for research and development, explore new areas for the development of national bass. I hope to make my meager contribution to the development of the Chinese bass.