The Western flute in China: History, pedagogy, and new trends

This dissertation discusses the Western flute in China in the context of its development through history, flute pedagogy research, and prevailing new trends. Chapter I deals with the historical development of the Western flute in China. Western music did not become a subject of public education until the end of the Qing Dynasty (1910). Thus, it has prospered in China for only about a century. The path to westernized musical culture in China has been determined mainly by political events. Chapter II discusses the most influential Chinese flute teachers of the time: Xuequan Li, Tongde Zhu, and Keming Lin respectively. Chapter III analyzes flute pedagogy from three perspectives. Chinese music education and learning styles are compared and contrasted to their American counterparts. Pedagogy issues, including embouchure, breath control, intonation, and finger technique are analyzed. Examples of educational approaches are cited from significant teachings by American flutists during their visits to China. Chapter IV investigates the transition from many years of Western imitation to a new interpretation which reflects their Chinese heritage. Many Chinese composers are fond of the practice of combining the Chinese traditional style with the Western style. The illustrated The Flute and Drum under the Setting Sun is a good example.;In conclusion, the focus of this research is to help foster the development of flute music and playing in a way that combines the best of the East and the West, both technically and culturally.