Essay Sample on the Music Education in a Time of Cultural Transmission

China is a very cultural country, which manifests through the unique artworks practiced in the land. Music is one area in which the cultural sector has focused. Music, therefore, made the cultural perspectives of the country distinct regarding other cultures from the different parts of the world like the western world, including America. Chinese society is one, which is governed by rituals, ceremonial functions, and rites, which has been for long promoted by music. Music has therefore been used as a basis of administering such cultural activities. Currently, music in China has achieved a different landscape of music as the Chinese are beginning to pay more attention to cultural transmission.

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Consequently, the ministry of Education in China influenced the inclusion of music education in higher learning institutions to promote sustainability and continuity of cultural transmission. The experts in the field of music have emphasized providing saxophone education; because the associated instrument has the potential of influencing the conservatory dramatic music and dance. Besides, the use of music is relatively easy to learn by students in universities. It, therefore, follows that saxophone education has a sustained significance in promoting the preservation of the Chinese culture in the country. It also helps in communicating the public image beyond the national borders. Therefore, there is a need to research saxophone education in China.

Research Questions

1. What is the significance of cultural transmission in China?
2. How does saxophone education promote cultural communication in Universities in China?
3. How challenging has it been while trying to achieve cultural transmission in China?
4. What is the influence of the refashioning of Chinese traditional music using modern techniques and instruments on students and young adults?
5. How is cultural transmission changing the nature of the Chinese culture, and the impression in the outside world, especially in western countries?

Research Objectives and Statement of Problems

1. To investigate the significance of cultural transmission in China
2. To determine how saxophone education promotes cultural transmission in China Universities?
3. To study the challenges encountered while trying to achieve cultural transmission in China
4. To demonstrate the influence of the refashioning of Chinese traditional music using modern techniques and instruments on students and young adults
5. To explore how cultural transmission is changing the nature of the Chinese culture, and the impression in the outside world especially in the western countries

The purpose of the research will be to focus on working towards achieving objectives. Therefore, the researcher will have addressed the research questions. In the end, the research exercise will have solved the primary research problem; what is the significance of saxophone education in China universities in the wake of cultural transmission?

Literature Review

Significance of Saxophone Education

Saxophone education has a significant role to play in the exercise of trying to embrace and implement cultural transmission in the country. This is because education is introduced to the students of the current generation who might instead find it difficult to fit in the traditional musical context. Huang (2011) argued that the students in the universities are therefore prepared to continue preserving the cultural activities of the country; however, a different approach fits the requirements in the modern era. Yang et al. (Yang) provided that the students at the university will take control of the next generation; hence, they need to be prepared well so that they become citizens who understand the need to preserve the culture of a country. Saxophone education, therefore, appeals to the ability of the students while aiming at sparingly transforming the cultural perspectives of China in the context of music.

Ease of Learning Relative to the Ultimate Cultural Transmission Goal

Besides, learning how to play the saxophone y university students is an efficient way of incorporating cultural learning. This is because it is relatively easy to learn and facilities their ability to remember the concepts covered in educational sessions. Just like playing any other instrument, studies have proven that playing instruments such as the saxophone can significantly enhance one's overall memory due to the amount of brainpower used when playing it (Benzon, 2015). The brain has to remain active throughout the entire period because what you are reading and hearing has to be processed as you make use of your skills at the same time to generate the correct sound that is appealing to the ear (Benzon, 2015). This, therefore, is very significant to the brain as it acts as a workout for the brain; the brain becomes better and gradually improves. Subsequently, saxophone education is a strategic way of ensuring that the country fosters citizens who always remember the need to embrace and practice the cultural perspectives of the land.

Challenges of Cultural Transmission in China

The effort to achieve cultural transmission in China has not been an easy task involving several difficulties in the course. Fung (2007) suggested that the greatest challenge in the exercise of introducing new aspects of music in China has resulted from the hesitance of the Chinese from various places to accept changes. This is because the notion of the transmission of culture was received with a lot of controversy in Chinese society. Many viewed it as a way through which it would promote the approaches to accomplishing the various cultural perspectives in the country (Hu & Lee, 2016). However, a good number equally had a perception that it would a possible way through which China would experience cultural erosion. It, therefore, implies that many Chinese perceive cultural transmission to a be the problem that would limit the positive regard that the world initially had towards the traditional cultural existence (Hu et al., 2018). Based on the argument, the incorporation of the activities of transmission would ultimately mean that China's dominance as a cultural nation would soon end. This is probably because introducing and adapting to modern approaches would take a considerable period (Lee & Wong, 2017) Therefore, as much as the saxophone education has been implemented in the Chinas University curriculum, many have doubts regarding as a threat to the cultural experience.

The Future of China's Culture

Refashioning china's culture has been impacted positively by the introduction of saxophone education in higher learning institutions. Yin (2018) observed that the willingness of China's government has been further promoted. Stock (2013)added that this has demonstrated its willingness to embrace a different landscape and approach. However, Petersen and Camp (2016) felt that there is a negative implication to the future nature of the cultural manifestations. This will mostly be experienced in the context of the views and perceptions of the outside world toward the potential of their culture (Liu, Hu & Schedl, 2018). The aspects of the culture incorporated by modern music and instruments like the saxophone are most likely to make the Chinese culture just a common one with limited rarity.

Significance of the Study

The research will be fundamental to society since it will have a considerable contribution to knowledge. For instance, the findings and the subsequent analysis will reveal why the country felt the need to effect change in traditional cultural music. According to Fung (2007), it will clarify the experiences of the cultural sector in the continued attempt to merge traditional and modern music while trying to replace the former type. Zhang, (2017) added that this will finally justify the need to include Music education in the curriculum and education development. Ultimately, society will be significantly informed regarding the significance of saxophone education concerning its influence on cultural transmission in the country.

Research Methodology

The research will utilize the mixed method of data collection because this is very important in complementing the limitations of qualitative and quantitative. Employing quantitative does not offer the researcher an opportunity to understand the respondent's behavior or attitude towards the subject under research (Abutabenjeh & Jaradat, 2018). This can be easily be complemented by making use of qualitative methods such as an interview. Mixed-method will provide a holistic approach to tackle the research comprehensively (Long, 2014). The researcher will make use of discussion as the primary method of data collection since it will offer the opportunity to customize questions in a form that can be best synthesized by the respondents.

Furthermore, the researcher will be able to evaluate the effectiveness of the research through interviews since the respondent's reactions and behaviors can be easily studied (Patkar, 2018). The researcher will use the questionnaire as a quantitative method since this will help him to collect an enormous amount of data within a short period. Other ways that will be used include experimental, focus groups and surveys depending on the situation and where there they can fit best.

References

Benzon, W. (2015). Cultural Evolution: Literary History, Popular Music, Cultural Beings, Temporality, and the Mesh. SSRN Electronic Journal. DOI: 10.2139/ssrn.2553278

Fung, A. (2007). The emerging (national) popular music culture in China. Inter-Asia Cultural Studies, 8(3), 425-437. DOI: 10.1080/14649370701393824

Hu, X., & Lee, J. (2016). Towards global music digital libraries. Journal Of Documentation, 72(5), 858-877. DOI: 10.1108/jd-01-2016-0005

Hu, X., Chen, S., Zhang, L., Yu, F., Peng, K., & Liu, L. (2018). Do Chinese Traditional and Modern Cultures Affect Young Adults' Moral Priorities?. Frontiers In Psychology, 9. DOI: 10.3389/fpsyg.2018.01799

Huang, H. (2011). Why Chinese people play Western classical music: Transcultural roots of music philosophy. International Journal Of Music Education, 30(2), 161-176. DOI: 10.1177/0255761411420955

Lee, K., & Wong, D. (2017). Chinese popular music as a musical heritage and cultural marker of the Malaysian Chinese. International Journal Of Heritage Studies, 23(10), 989-1001. DOI: 10.1080/13527258.2017.1362577

Liu, M., Hu, X., & Schedl, M. (2018). The relation of culture, socio-economics, and friendship to music preferences: A large-scale, cross-country study. PLOS ONE, 13(12), e0208186. DOI: 10.1371/journal.pone.0208186

Petersen, S., & Camp, M. (2016). The Musical Self-Concept of Chinese Music Students. Frontiers In Psychology, 7. DOI: 10.3389/fpsyg.2016.00776

Stock, J. (2013). Music in China. Oxford Bibliographies Online Datasets. DOI: 10.1093/obo/9780199920082-0021

Yang, Y., Carter-Enyi, A., Radhakrishnan, N., Grimmer, S., & Nix, J. (2015). Vocal Music and Pedagogy of Chinese, African, and Indian Genres. The Oxford Handbook Of Singing, 750-772. DOI: 10.1093/oxfordhb/9780199660773.013.26

Yin, Y. (2018). Vocaloid in China: Cosmopolitan music, cultural expression, and multilayer identity. Global Media And China, 3(1), 51-66. DOI: 10.1177/2059436418778600

Zhang, W. (2017). Exploring and Listening to Chinese Classical Ensembles in General Music. General Music Today, 31(1), 26-33. DOI: 10.1177/1048371317710081