The Application Value and Strategy of Red Music Culture in Ideological and Political Education in Primary and Secondary Schools

As an important carrier of red culture,red music culture carries the glorious history of revolution,construction,and reform led by the Communist Party of China(CPC),and has significant functional value in cultivating students’ideals,values,and cultural identity,as well as patriotic consciousness and national pride.However,the integration of red music culture into the ideological and political education of primary and secondary schools faces the dilemmas of low cultivation awareness,insufficient excavation of resources,and lack of optimization of atmosphere and field.In view of these problems,the strategies of enhancing cultivation awareness,excavating the resources in-depth,and creating a positive atmosphere and field provide new ideas and methods for ideological and political education in primary and secondary schools.

An Exploration of Traditional Chinese Cultural Programs:The Construction of Rituals,Narrative Strategies,and Experiential Insights

In the context of the cultural development of the new era and the burgeoning spiritual demands of the people,there has been a remarkable surge in the proliferation of traditional Chinese cultural programs.The“Chinese Festivals”series,produced by Henan TV,standing out as an engaging TV program that showcases traditional Chinese culture,has rapidly captivated a diverse audience across different age groups,creating a rich,multi-dimensional,and cross-media cultural communication ecosystem.The program strategically selects symbolic elements by systematically categorizing and organizing traditional Chinese cultural symbols to create a rich cultural space.It employs cutting-edge scientific and technological methods to enrich viewer immersion,crafting media rituals with both temporal significance and a profound sense of media ritual.This approach boosts the program’s popularity and sets a benchmark for industry innovation.By fostering an interactive narrative between mainstream media and the public,the program continuously broadens the scope of the“story world,”fostering a harmonious and structured national cultural community through the creative interpretation of traditional Chinese culture and the evocative crafting of the aesthetic sensibilities inherent in Chinese art.It is worth noting that the phenomenon of aesthetic fatigue besets the development of this serial program.To address this issue and further improve the appeal of the program,a comprehensive approach is required to develop a cohesive narrative mode for the“story world.”This involves harmonizing the interplay between artistic endeavors and technological advancements,synchronizing sensory experiences with the foundational ritualistic elements,and enhancing the effectiveness of the media communication matrix to construct a brand of media culture that has social significance,aesthetic value,and economic profits in the new era.

The Role of Music in Multicultural Education:A Tool for Promoting Cultural Understanding and Inclusion

In this essay,it will be examined how music can be a powerful tool in multicultural education in promoting humanity and cultural sensitivity.As classroom diversity increases,the challenge lies with educators to ensure that an equal and appropriate learning environment for all students with cultural sensitivity is maintained.To address this problem,therefore,the study explores how music may be effectively incorporated into intercultural education approaches.This paper has evidence that music is a language that has transcended cultures and promotes tolerance,appreciation,and acceptance of diversity through a synthesis of literature and examples.Several implications posit that music can make people feel they belong,enhance the relations of people from diverse cultures,and provide a practical way of learning about other cultures.The potential of music as a tool to engage social justice issues and liberate oppressed groups is also discussed in this research.It exists,but with caution to cultural appropriation and stereotyping of students,thus requiring educators to be sensitive and socially-apperceived on the best practice ways on how to integrate music into classrooms.The end explains how music helps in nurturing a generation of embracing the world,more sensitive and more inclined to the happenings in society to create a society that will be more sensitive and tolerant with the growing society which is diversifying.Therefore,the current article recommends further exploration and development of music-facilitated/inclined pedagogy of ME in hopefully enhancing cultural consciousness/sensitivity and fostering more social integration.

The Contribution of Vocal Music Education in Colleges and Universities to Cultural Inheritance and Innovation

The importance of education and cultural inheritance is becoming increasingly prominent.Through literature review and empirical research,combining quantitative data and qualitative analysis,this paper assesses the teaching methods,curriculum,and student interest and participation in vocal music education in colleges and universities.The study found that vocal music education played a positive role in increasing students’participation in cultural activities,enhancing their identification with traditional music and improving their skills,despite problems such as inadequate teaching systems and homogenized curricula.In particular,the participation rate of students in cultural activities before and after the educational changes increased significantly from 31–54.7%to 62.4–83.6%,indicating that vocal music education can effectively stimulate students’enthusiasm for cultural participation.In addition,the strengthening of the teaching staff and innovations in teaching methods,such as the application of multimedia and virtual reality technologies,provide students with richer learning experiences and personalized learning paths.

Russian Music of the Soviet Era: For Archive or Forever

The purpose of the article is to present several topics in Russian music of the Soviet era(roughly 1920-1990).The time that has passed since the fall of the Iron Curtain allows us to rethink and revise the cultural treasures of seven decades and reassess new research of the last decade,carried out both by people who previously gained a reputation as an authority in Soviet culture,and by scientists who came from this environment and began sharing their vision of the subject after acquiring the skills of a Western scholar.The article is based mainly on the latter research and tries to see its subject as a complete picture,albeit with missing details,so to speak,a postmodern picture that requires the reader to participate in its refinement.The methodological basis of this study is working with published sources through the critical lens of cultural anthropology as it has developed and presently looks.

Research on the Innovation of Traditional Music Cultural Inheritance

Traditional music is an important source of Chinese civilization and has a profound impact on the origin,enrichment,leap forward,and sublimation of Chinese culture.Starting from the three dimensions of history,people,and integration,it is important to inherit,carry forward,and spread the contemporary value of traditional music culture.We should focus on the inheritance of historical dimension,reposition the unique function of traditional music culture,strengthen the ecological protection of traditional music culture,and advocate excavation protection,purification protection,and promotion protection.Additionally,we focus on the development of the people dimension,adhere to the people-centered creative orientation,grasp the needs of the people,reflect their aspirations,and strive to enhance the timeliness and attraction of national music.We also focus on the communication of integration dimension,leverage the characteristic advantages of emerging media communication,promote the cross-border integration of the traditional music industry and related fields,respond to the focus and interaction of music audience services,and promote the construction of a modern three-dimensional communication system of traditional music.

Research on the Value and Strategy of Integrating Music Education and National Music Culture

China’s traditional national music is an art form formed by the working people and art pioneers to express their emotions during thousands of years of productive labor.National music not only contains emotional stories that are capable of evoking praises and tears,but also has a profound understanding of the lives of sages.In summary,integrating college music education with national music culture can allow students to deeply discover music,thereby stimulating students’enthusiasm for learning music,improving students’learning quality,mastering the core parts of music learning,and helping students to go a long way in music.This article mainly focuses on the characteristics and educational value of national music culture,and its effective integration with music education in colleges and universities.This article can help relevant workers in college music education and promote the sustainable development of music education in colleges and universities in China.

Women in the Musical Culture of Danzig in the First Half of the 20th Century

The musical culture of pre-war Danzig/Gdansk remains an area that is not well enough recognized in the scholarly literature.Numerous traces of this musical life are preserved in the collections of the Gdansk Library of the Polish Academy of Sciences.The collection ranges from scholarly publications and scores to an extensive number of concert programs and posters.The collection testifies to the dynamism and diversity of the city’s pre-war musical life.Notable among the collected materials is the role of female figures-composers,singers,and instrumentalists who made significant contributions to the shape of Gdansk musical life.In this article,I will present forgotten profiles of musically committed women:Martha Reincke,Ella Mertins,and Lotte Prins.In light of the surviving materials,it can be assumed that they were significant figures in the musical culture and social life of the city.

The Union of the East and West via Music Culture

It is universally acknowledged that cultural diversity can be showed in various aspects, and it take the music culture for example here. As the UN Sec-Gen Ban Ki Moon said:"there are no languages required in the musical world, That is the power of music.That is the power of heart."Through this promotion of arts we can better understand the culture and civilization of other people.

Research on the Development Trend of Chinese Traditional Music Art from the Perspectives of Aesthetic and Historical Culture

In this paper, we conduct research on the development trend of Chinese traditional music art from the perspectives of aesthetic and historical culture. In the ancient Chinese aesthetic tradition, ＂peace＂ music aesthetic of music practice has the extremely important influence, not only affect the music creation, performance, appreciation that also affect the music form and content, social function, etc. ＂peace＂ as beauty is the core of the ancient music esthetics thought, so to speak. Chinese music culture while constantly in the long course of history, the Chinese music culture of different nations, but as a precocious and has a long history of nation, he has a great ability, that is both absorb different music culture, and unified as the relatively stable whole music culture and maintain their own basic features, and distinguish it from other music culture.

A Study of the Relationship between Rock Music and the Counterculture Movement

In the 1960 s, America has entered a new historical period with recession in economy and increasingly bad social problem. Besides, Civil Rights Movement and women rights movement have been led by black people and women for equal rights.With the development of these movements, the counter-cultural movement came into being, and the movement which represented a significant period in post-war youth cultural history was caused by the impending readjustment of social structure during the transition from industrial to post-industrial society in the 1960 s. American white middle class youth were disillusioned with the way their parent culture controlled the society and had no desire to become caught up in the machinery of social power themselves.The counter-cultural constituted a direct attack on the part of white middle class youth against the dominant ideological machinery set in place and maintained by its parent culture, and its influence has been maintained to the modern times. Except for the liberation of sex and drug, the most important symbol of the counter-culture is rock music. There is a close relationship between the counter-cultural movement and rock music. During the mid to late 1960 s rock music became a centrally significant medium for the dissemination of a range of social-political issues in counter-cultural movement. The period from the mid-1960 s to the early 1970 s represented the first time that popular music, a mass cultural form, had become a centrally significant medium for the dissemination of a range of sociopolitical issues, from US involvement in the Vietnam war to the Civil Rights Movements, to the rejection of western political and cultural ideology. As Eyerman and Jamison^([1])point out:‘Movement ideas, images,and feelings were disseminated in and through popular music and, at the same time, the movements of the times influenced developments, in both form and content, in popular music'.

Visitor Motivations and Barriers for Sustainable Music Festival Tourism: The Case of Street Mode & Reworks Festivals

During the last decade, music festivals are increasingly used as an important motivator to attract visitors, giving riseto a more sustainable tourism growth in hand with cultural stimulation for the cities. This research paper aims toaddress the motives and barriers of music festival visitors travelling to attend two music events in the second largestGreek city of Thessaloniki in Northern Greece. The main objective of the research paper is to determine the visitors’motivation for choosing to attend each festival and thereafter the challenges they face during their visit in the city.This exploratory research study focuses on two distinct and popular music festivals namely Reworks Festival andStreet Mode Festival. Both events share three main characteristics: (1) They host both international & Greekprofessional artists;(2) they are primarily privately funded;and (3) they have achieved a consecutive 10 years ofsuccessful presence in the city attracting thousands of visitors each year. The research methodology is based on thecollection of qualitative data by conducting one to one interviews with festival visitors. Findings of the analysis ofthe two festivals direct at identifying the commonalities & differences in tourists’ drives and obstacles in regards totheir festival attendance and visit in the city of Thessaloniki. In both cases, it is inferred that both festivals have alot of further untapped potential, as unique city branding tools, adding value to the destinations and extending thetourism season. Conclusions can contribute to building more concise and sustainable destination tourism strategiesand, therefore, more successful and sustainable events, with long-term benefits, ranging from local to nationallevels.

Church Music and Atheistic Ideology in the Last Decade of the USSR

Authoritarian societies that follow certain rules in the religious,cultural,and political realms tend to be little tolerant of other views and practices.There is a very revealing research niche for the study of“otherness”in the regulated fields of human activity.Yet,a niche within a niche is a study of historical or,in any case,former practices that come back to life after a gap of many decades.This is the case with church music of the last decade of Soviet history that has returned to artistic practice after a sixty-year ban.The article examines the socio-cultural circumstances that accompanied the creation of a number of works in various church genres written by professional Soviet composers,supported by a brief description of these works.Information about atheistic ideology,cultural doctrine,music management,and church life in the USSR completes the range of topics discussed.

Social Media Is the New Punk User Experience, Social Music and DIY Culture

In the digital convergence culture （Jenkins, 2006） and in the network society （Castells, 1996）, the theories of personal branding, social identity, and the two-step flow of communication have become intertwined to create a model through which individuals and musicians share and embrace music. This paper examines the rise of social network for music involving both the practices of use and consumption and those of creation, sharing and distribution of innovative and independents musical reality. Social media have introduced radical changes in social and musical practices increasing the ability of creation from the bottom in contrast to mainstream. Moreover, thanks to performativity, collaboration and participation offering by Web 2.0, fit fully in culture ＂DIY 2.0＂ offering an interesting chance for the emerging underground music.

Construction of Three-in-one Industry and Cultural Inheritance of Musical Instruments of Li People in Hainan from the Perspective of Rural Revitalization

From the perspective of industrial integration,how the musical instruments of Li people in Hainan can solve the current development problems such as lack of endogenous power and market enthusiasm under the strategy of rural revitalization to walk out a unique road of three-in-one industry construction was studied.

Music Education Mode Optimization and Vocal Training System Construction from the perspective of Cultural and Aesthetic

Music education mainly cultivates some basic qualities, such as the sense of morality, aesthetic taste, strong mind and creativepower. Music education improves personal comprehensive development through psychological counseling and music therapy. With the deepeningunderstanding towards the role of music education, offering music classes is supported by many non-professional music colleges in China. Themusic education in colleges is not only a way to teach eastern and western musical knowledge, but also a way to enhance students ‘comprehensivequality. The ultimate purpose of music education is to develop and improve students’ personality, and provide a platform to cultivate top - notchtalents. However, there’re still some problems in music education, such as the music classes are not taken seriously, curriculum is backward,the system of music education is incomplete, which severely restricted the role of the music education playing in improvement of students’comprehensive quality and cultivation of top - notch talents. Facing these problems, based on the aims of people oriented and cultivating talents,we need to persist with our struggle in strengthening music education in the proportion of personnel training process with the result of collegestudents’ comprehensive quality, which can provide a strong supporting backup for developing top - notch talents.

A Study on the Way of Wuhan S Red Music Culture Integrating into the Ideological Work of College Students

The purpose of this paper is to explore the new ideas of integrating the local Red Music cultural resources into the ideological and political work of colleges and universities,the main contents are to effectively tap the local Red music cultural resources in Wuhan,and to carry out the education of Party history around me Popularizing the Red Music Culture in the music textbooks of primary and middle schools reveals that the ideological and political work of colleges and universities should be good at discovering the red music education around them to carry on the party history education.

Tibetan Folk Songs and Dances in Diebu-The Musical Characteristics of Gerba(Gar Pa)

Folk songs and dances originated from people's sacrificial activities in the struggle against nature in the primitive society.Their origins are related to the ideology and living environment of the people at that period of time.These activities were expressed in the form of primitive songs and dances,and gradually evolved into folk songs and dances.The gar pa song and dance from Diebu,in Gannan region,is a unique song and dance of a Tibetan region on the eastern edge of Qinghai-Tibet Plateau.Its content and form are unique.It still retains the original trinity feature which includes poem,music,and dance.The production of songs and dances contains rich cultural connotations and unique local characteristics.This article elaborates the characteristics of Diebu's gar pa song and dance in terms of its music and performance form.

Analysis of Aesthetic Connotation of Huaxia Culture Involved in Chinese Traditional Garden

Based on emphasis of Huaxia cultural aesthetics as the aesthetic tendency of Chinese traditional culture,Huaxia aesthetic culture had been divided into two parts:traditional ritual cultural aesthetics as the base and different aesthetic cultures dominating at different periods which included Confucius cultural aesthetics,seclusion cultural aesthetics and co-existence of Confucius,Taoist and Buddhist cultural aesthetics.Traditional ritual cultural aesthetics contained formal beauty,harmonious beauty and sacred numbers.Confucius aesthetics consisted of constant flow,happiness in poverty,and moral nature.The seclusion aesthetics consisted of super universe,hermit in nature and pastoral habitation.Co-existing aesthetics of Confucius,Taoist and Buddhist culture consisted of harmonious aid,principles' conclusion and leisure life.These dominating aesthetic cultures overlaid with basic ritual culture,and enhanced artistic conception of Chinese traditional gardens with witty words and sentences.

Celebrating the Harvest and san yklk： Exploring Festival and Public Ritual as Collective Memory to Sustain Cultural Identity

This paper argues that ritual is not only restricted to religious activities, but can also be ethological, sociological, and ecological in nature. The artistic, stylistic, and functional characteristics of one particular festival of the Bamana in Mali to celebrate the harvest and new planting season will be analyzed. This festival primarily takes on the form of animal masquerades in which masks, puppets, drumming, singing, and dancing are blended into a ritualistic celebration of a certain cultural identity. The Bamana culture has lost religion as a marker, as Islam is now the dominant religion in Mali, but traditional social relationships and morals among the Bamana as a patriarchal society are concretized and objectified by their animal masquerades. Apart from being a seasonal festival, events from the past are commemorated; customary gender roles are defined; and some fundamental and complex social concepts are reinforced by a performance mode which relies on a collective memory and oral transmission.