Exploration On The Theory And Practice Of Popularization Ideology Of Li Ling On Music

Li Ling(1913——2003), Guangdong Taishan people, formerly known as Tim LEE, plum company, formerly known as Li Luyong, Lu Yong, Ling Dejie, is a famous theorist of modern music, music critic, music educator, music activist. He is the new Chinese music industry pioneer, creator, leader for the development of the music industry has made important contributions. Taking a panoramic view of Li Ling's life, it can be seen that the musical ideology of“popularization” ran throughout his life, which became the basic foundation of the thinking and implementation practice of his ideology of music. And carrying out in-depth analysis of musical popularization is of great reference value and enlightenment significance to revealing the evolution rules of the revolutionary music history and modern music history. This paper plans to adopt the approach of annalistic style to carry out analysis of the theoretical thinking and practice of Li Ling's musical popularization in different periods, so as to fully represent the development and evolution sequence of the theory and practice of Li Ling's popularization ideology of music, summarizing its development characteristics, in order to promote the exploration on the popularization of Chinese music. By a full- four chapters.The introduction part is mainly describes about the concept of popularization of music,and then explain the research status, research significance, and innovation as well as the research methods of this paper.The first chapter, 30, 40 years theory and practice of Li Ling music popular. This chapter studies Li Ling during the war as nationalization, popularization efforts to practice music theory pay, these practices are mainly Li Ling founded the "new music" and other music journals, social music school founded by social organizations and Li Ling mass singing activities. Through a series of music theory, music practice Li Ling and other musicians, so nationalization, popular music popular thought, as the war made a great contribution.Chapter II, 50, 60 years theory and practice of Li Ling music popular. This chapter written after the founding, Li Ling in "revolutionary, nationalization of the masses" of music research atmosphere, to promote the development of popular music and culture, participate in music theory, led a professional team to tour the country, actively popularize music related work.Chapter III, the theory and practice of the 1980 s popular music Li Ling. Study chapter Li Ling to 80 years later in order to improve theoretical research done by public music literacy, practice-based. Li Ling after the reform and opening up, the main concern is how popular music and culture, improve the quality of national music, he proposed "multi-track system of music education," education philosophy, and actively contribute to and participate in the national music education theory.The fourth chapter, the overall characteristics of Li Ling's theory and practice of music popularization.Subject of this chapter is to explore the theory and practice of Li Ling music popular in the overall context of the historical context, highlighting their personality traits in common study. This chapter the theory and practice of the popularization music of Li Ling source and characteristics, the theory and practice of the popularization music of Li Ling ways and means of implementation are presented in this paper. The final objective of the theory and practice of the popularization music of Li Ling of the influence on Chinese modern music history and status was evaluated.Based on the historical materials, this paper hires the research method of combining theory with practice. Through a macro control of the theory and practice of the popularization music of Li Ling, it arranges and summarizes the commonness and individuality between it and the modern Chinese music in the development. The research in this paper not only helps people develop a deeper understanding of Mr. Li Ling's ideology of music and represents the characteristics of his musical ideology of popularization, but also enables it to be compared to and synthesized with the historical commonness, so as to enrich the research on the history of modern music.