Research On The Development Of Chinese Harp Teaching

Harp,a foreign instrument,first appeared in China during the Kangxi years of Qing Dynasty,and then gradually became a kind of instrumental art form which was familiar and loved by the Chinese people.Before the 1950 s,however,there was no record of the teaching of harp.With the development of the orchestra art,the art of the Chinese harp has opened a new page,and it also derived a group of harp performance and education.This paper combs the historical figures,historical events and teaching activities engaged in harp teaching in each period since the founding of the People’s Republic of China,and after analyzing and studying its teaching concept,teaching mode and teaching results,it was concluded that the development of harp teaching in China has gone through four periods: During the first period,from 1954 to 1958,the Shanghai Symphony Orchestra sent Zhou Peiying and the Northeast Music Academy sent Yue Pingqiu to learn the harp with the Russian overseas Chinese harp artist Druzhinina of the Changchun Film Studio Orchestra.During the second period,from 1959 to 1960,the Shanghai Conservatory of Music invited Mrs.A.Schwarts,a harp artist in East Germany,to set up a harp expert class.During the third period,from 1965 to the end of the 20 th century,the Soviet school had a profound influence when the students studying in the Soviet Union returned.And during the fourth period which is from the beginning of the 21 st century till now,a number of new forces studying abroad have returned from the United States,France,Spain and other countries,which have played a great role in promoting the harp teaching in China.This paper combs the experience of harp,a foreign musical instrument,in the process of localization in China,and makes an objective evaluation of its outstanding achievements and existing problems.The author believes that it is particularly worthy of academic attention that after the harp was introduced into China,it not only promoted the localization of harp playing,but also contributed to the resurrection of a lost ancient musical instrument,konghou.That is,since the 1980 s,the konghou has reappeared on the stage.Although the court of the Tang Dynasty had a noble position in the palace of the Tang Dynasty,but in the Song Dynasty,it gradually withdrew from the stage for a variety of reasons.It is surprising that the transmission of the western harp has unexpectedly activated the same kind of musical instrument of the same kind as the heavy stage of the same kind of musical instrument,which made these two homologous and different musical instruments meet in the same cultural time and space.Such cultural exchanges have hardly been paid attention to by the academic community in the past.This phenomenon also proves the great creativity and vitality of Belt and Road Initiative’s cultural exchange.If the Chinese history of this instrument is viewed from this point of view,the contemporary meaning of the harp is not the same.