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Baima Tibetan folk songs are an integral part of the Baima Tibetan music culture. They are performed in diverse styles, including solo, duet, lead singing, round singing, and chorus. The objective of the study was to explore the significance of Baima Tibetan folk songs as a resource for literacy education in Chinese music history. By engaging with key informants divided into three groups -- scholar informants, casual informants, and general informants. The result of this study reveals that ritual music holds deep roots in religious beliefs and is performed during sacrificial ceremonies, marriage ceremonies, and funeral ceremonies. Dance music culture reflects the collective nature and community cohesion of the Baima people, with dances like the fire circle dance serving as prominent expressions. Folk songs encompass a wide range of themes, including labor, wine, wedding, and love, showcasing the diverse musical expressions within Baima Tibetan society. The unique rituals, dances, and songs of the Baima people contribute significantly to the preservation and celebration of their rich cultural heritage. This study highlights the educational potential of Baima Tibetan folk songs as valuable resources for promoting literacy and understanding in the context of Chinese music history.

Taoism, deeply rooted in Chinese culture, is a testament to the nation's heritage and serves as a central element within the broader Chinese civilization. Taoism's rich tradition encompasses funeral ceremonies, a crucial facet of human culture that bids farewell to the departed and honors their memory. The objective of this study is to investigate the transmission process of Taoist funeral music within the context of education and instruction in Guizhou Province, China. The research site, Zunyi City in Guizhou, is strategically located, sharing its borders with Sichuan Province, the birthplace of Taoism, making it an ideal setting for this investigation. Key informants include scholars, casual informants, and general informants, carefully selected based on their expertise and experience in Taoist funeral music. Data analysis relies on qualitative methods, including observation and interviews, to extract rich insights. The results reveal a multifaceted transmission process, including private transmission, accumulation of practice, scripted guidance, oral and heart instruction, and imitation. This study underscores the importance of preserving and transmitting this musical heritage and suggests strategies for its continued safeguarding, particularly in the face of modernization challenges. [ABSTRACT FROM AUTHOR]

The qualitative research method is used in this study. The objectives were to: 1) investigate Yao Henglu's artistic developments. 2) Examine the influence of Chinese contemporary music. This study selects six music works composed by Professor Yao Henglu, using the literature research method and the field investigation method. The method is then used to sort out Yao Henglu's music composition developments and the formation of music composition thought. The results of the research are as follows: 1) Yao Henglu's six musical works are created by combining traditional Chinese music elements with modern western composition techniques. particularly the theory and practice of three-pitch arrangements as well as the connotation of latent tonality in tonal music. 2) Through analysis, the influence of Yao Henglu's music works on modern Chinese music creation aids musicians in understanding modern music and promotes the development of modern western composition techniques in China. Yao has developed musical talents and created the foundation for music analysis through composition practice. Yao preserves his academic vitality and influence, drives curriculum reform, and promotes the development of modern music analysis systems and the development of modern music creation. [ABSTRACT FROM AUTHOR]

Piano impromptu accompaniment is a core course in music education major programs at Chinese universities. This study discusses three representative impromptu accompaniment courses in normal universities in China, aiming to improve the lack of Chinese harmony and folk song accompaniment content in the current classroom. Qualitative research methods are used in this paper. Data are obtained from interviews and surveys of three teachers and their students. All data are validated by methodological triangulation and combined with research objectives through typological analysis. This paper holds that the lack of Chinese harmony and folk songs in impromptu accompaniment lessons is a serious problem. It proposes applying Chu Wanghua's folk song adaptation to piano impromptu accompaniment teaching in order to solve this blind area of students' abilities. Its purpose is to enhance students' abilities of impromptu accompaniment for folk songs and better protect intangible cultural heritage. [ABSTRACT FROM AUTHOR]