A study of German perspectives； Musical contributions of three Chinese scholars and Jewish immigrants in Republican China.
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文摘
Despite strong cultural and political ties between Germany and China since the nineteenth century and the important role of music in both societies through history, little is known about the German musical influence in China. This dissertation explores the profound effects German musical influence had on Chinese music education during the Republican era (1911-49). At the institutional level, Cai Yuanpei (Chapter I) utilized his political appointment as the Minister of Education and subsequently as Chancellor of Beijing University to promote his concept of aesthetic education based largely on Kant's aesthetic thoughts, which he studied in depth while residing in Germany. Xiao Youmei (Chapter II), who received a doctorate in music education from Germany, was recruited by Cai to teach at Beijing University in 1920. In 1922, he became the Dean of Administration of the newly established music department at that institution and later, also co-founded the Shanghai Conservatory of Music. Xiao introduced German methods, ideas, and music into the music curriculums of both institutions. Wang Guangqi (Chapter III) was trained in Berlin and Bonn. In the public sphere, his publications were instrumental in educating the masses about the research methods of German musicology and comparative musicology. Inspired by the progressive spirit of the May 4th movement, Wang attempted to redefine China's "national" music based on Western tenets. Though the basis of his argument raises serious questions, his influence was significant. Following the German influences introduced by these three, Austro-German Jewish musicians arrived in the late 1930s and early 1940s (Chapter IV) made important contributions in German music scholarship at the institutional level in China and promoted music from the Germanic tradition in the public sphere. This study on German musical influence in Chinese music education during the Republican period is intended to provide a new perspective for musicians, music scholars, and music students in their quest for a deeper understanding of the influences of Western philosophy, musical pedagogy, and musical practice abroad and to underscore the prominence of influence that was specifically German.