A Comparative Study On The Inheritance And Teaching Of Zheng Music In Two Universities Between China And Japen

Zheng came from the Qin Dynasty and began to flourish during the Tang Dynasty.China's Tang Dynasty has a strong economic power and a wide cultural influence.During this period,the Tang Dynasty thirteen-string Zheng was introduced to neighboring countries.The Zheng musical instrument has experienced a reform of the structure.In the reforms,the musical form of the Chinese Zheng musical instrument merged with local customs,and gradually formed today's Mongolian Zheng Zheng,Korean Kavagum,Vietnamese Zheng,and Japan's 13-string zither.To this day,in nara,japen,they still reservedthe Tang thirteen-string zheng zhich was brought back by diplomats to the Tang Dynasty.From its development to the present,the musical form of Japan's 13-string zither has not changed much.More importantly,Koto is still an important part of today's traditional zither music.Although it also carried out the development of modern Zheng music,The main body is definitely the traditional thirteen-string Zheng.Guzheng and Japanese zither are homologous to the thirteen-string zither of the Tang Dynasty.But they have developed into completely two different zither music systems.I'm wondering how the Chinese zither has developed and inherited in different cultures and social contexts.How does it form a unique musical expression style? Does its inheritance method give us some new insights?Before I went to Japan,I summarized and sorted out the existing Zheng inheritance in China and the introduction of Japanese Zheng literature.Afterwards,with the help of teacher Hu Jing,a professional tutor,she went to Japan to study Japanese zheng theory in a short term with professor Mao Ya..During this period,he visited the Japanese zither production factory and had a certain amount of knowledge of the craft and operation flow of production.He also went to the Miyagi Daoxiong Memorial Hall in Tokyo's Shinjuku Music to learn about the inheritance and development of shengtian flow in Japanese zheng qu.At the same time,he visited The teaching place and library of Tokyo University of the Arts.After experiencing these practical experiences and theory study,and experienced these practical experiences.In theory study,I elaborates on the main characteristics of the Japanese Zheng music inheritance collected and collected,and analyzes and contrasts their differences from the aspects of the inheritance and practical teaching of Chinese and Japanese genres.I hope that through the research of the Chinese and Japanese zheng heritage teaching,we can broaden the horizon of our contemporary zither playing and teaching,and contribute to the understanding of the diversity of music culture at the same time.