Gu HuaiYan
Associate Professor. Department of Chinese traditional music, Nanjing University of the Arts.
Renaissance 2024, 3(02); https://doi.org/10.70548/ra142139
Submission received: 1 August 2024 / Revised: 29 August 2024 / Accepted: 3 November 2024 / Published: 13 November 2024
Abstract: The erhu performance major courses in Nanjing University of the Arts are the earliest undergraduate erhu major core courses established after the founding of the People’s Republic of China. Now, it has a history of 72 years, and the disciplinary context has a long history. This paper conducts an in-depth analysis of the talent cultivation system of this course from five aspects: the situation of student sources, teaching reform and innovation, the design of practical teaching activities, teaching methods and case analysis, and teaching conditions.
Keywords: Nanjing University of the Arts; Erhu Performance Major; Talent Cultivation
1.Introduction
The “Art of Erhu Performance” in the School of Music at Nanjing University of the Arts is the earliest undergraduate core course for the erhu major established after the founding of the People’s Republic of China. It now has a history of 72 years. As early as 1952, the predecessor of Nanjing University of the Arts, the “East China Art School”, had erhu playing as an elective course. The instructor was Professor Ma Youde, a famous erhu player, educator, and recipient of the State Council government allowance. Starting from 1953, the core course of erhu playing major was offered, with Professors Qu Anhua and Ma Youde, both famous erhu players and educators, as the instructors. In 1958, the East China Art School was relocated to Nanjing and became the current Nanjing University of the Arts. The instructors were Professor Gan Tao, a famous musician, player of national instrumental music, and educator, as well as Professors Qu Anhua and Ma Youde. In 1976, on the basis of the undergraduate teaching of this course, the first master’s program in erhu playing major in China was established. Over the past 70 years, this course has cultivated a large number of renowned erhu players, such as Chen Yaoxing, Zhu Changyao, Ou Jingxing, Yang Yihe, Bian Liunian, Deng Jiandong, etc. The disciplinary context has a long and continuous history.
2.Analysis of the Situation of Student Sources
In terms of the regional distribution of undergraduate students majoring in erhu at Nanjing University of the Arts, they can be divided into in – province students and out – of – province students, with the proportion of in – province students being 71% and that of out – of – province students being 29%. See the figure below: (This figure is made based on the big data of freshmen of the 2022 – grade undergraduates released by Nanjing University of the Arts)
In terms of the educational origin of undergraduate students majoring in erhu in the school, they can be divided into those who graduated from the affiliated middle school of Nanjing University of the Arts (started music professional training during the middle – school stage) and those who graduated from ordinary high schools (without music professional learning experience during the middle – school stage), with the proportion of students from the affiliated middle school of Nanjing University of the Arts being 41% and that from ordinary high schools being 59%. See the figure below: (This figure is made based on all current undergraduate students majoring in erhu)
Based on the above analysis of student sources and combined with the talent cultivation objectives of this major, the teaching direction is positioned, thus reflecting the value of the curriculum.
（1）After six years of cultivation in the Affiliated Middle School of Nanjing University of the Arts, the students who are directly admitted to the undergraduate program of our college have a solid basic skills and a relatively high level of musical accomplishment. Moreover, since the Affiliated Middle School of Nanjing University of the Arts enrolls students within Jiangsu Province, these students are basically from Jiangsu. Therefore, they also have a good foundation for playing the music of the national intangible cultural heritage “Jiangnan Sizhu” which is included in the content of this course. The teaching objective for this type of students is to cultivate outstanding solo stage performance talents who can take on important roles and strive to win grand prizes in provincial and national competitions.
（2）The students who are admitted to the undergraduate program of Nanjing University of the Arts from other provinces (basically not students from the affiliated middle school) are not quite familiar with the music culture of Jiangsu region. However, the fact that they apply for Nanjing University of the Arts indicates that they are very eager to understand and learn about the music culture of Jiangsu. The training objective for this type of students is to strengthen the learning of the music of the national intangible cultural heritage “Jiangnan Sizhu”.
（3）The students who are admitted to the undergraduate program of Nanjing University of the Arts within the province but not directly from the affiliated middle school, although they have a relatively good understanding of the music culture of Jiangsu region, often do not have a very solid basic skills, lack the training of “childhood skills”, and also lack stage practical experience. For this type of students, it is necessary to strengthen the basic skills training and create opportunities for them to perform on stage.
3.Teaching Reform and Innovation
3.1 Propose the teaching system of cultivating “diversified talents” with “Four Abilities”.
The course holds that in today’s Chinese universities, the major of Chinese musical instrument performance should cultivate students with the “Four Abilities”, namely, being able to perform, teach, create, and conduct research. “Being able to perform” means having a good level of performance; “being able to teach” means having a certain teaching ability; “being able to create” means having a certain ability of composition and creation; “being able to research” means having a certain scientific research ability. The diversified and compound talents cultivated in this way will meet the current industry needs and adapt to employment.
3.2 Offer the course of folk music chamber music performance to bridge employment.
In response to the employment needs and the cultivation of compound talents, the School of Music of Nanjing University of the Arts launched the course of “Chamber Music (Folk Music)” in 2018. The students who took this course have won two “Wenhua Awards” of the Ministry of Culture of China, the “Wenhua Award” of Jiangsu Province, one special prize, one first prize in the Jiangsu Provincial College Students’ Art Festival, and the third prize in the Jiangsu Provincial Jiangnan Sizhu Invitational Tournament, etc., important awards in major competitions. The stage practice opportunities for the students participating in the course have been significantly increased compared with before. Currently, there have been six graduating classes of students participating in the practical course, all of whom have been employed and are the backbone forces of solo and ensemble performances in the orchestras.
3.3 Incorporate ideological and political education
After the founding of the People’s Republic of China, our university was the first in the country to offer the “Erhu Performance Art” course, and it has been 72 years since then. It can be said that the erhu performance major in Nanjing University of the Arts has shared the same era and destiny with the construction and development of the People’s Republic of China and the spirit of Chinese red culture. Through teaching and practice, the spiritual outlook of Chinese contemporary youth is demonstrated, the precious spirit of red culture is inherited and carried forward, and red culture is made to play the role of educating people and uniting and inspiring people, constantly strengthening the cultural confidence in the path of socialism with Chinese characteristics. It enhances students’ patriotic feelings, cultivates students’ noble sentiments, and forges students’ innovative spirit, further strengthening the construction of advanced culture.
3.4 Incorporate the teaching of the national intangible cultural heritage “Jiangnan Sizhu”
Jiangnan Sizhu is traditional Chinese music prevalent in southern Jiangsu Province and other regions. In 2006, with the approval of the State Council, it was included in the first batch of the national intangible cultural heritage list. Professor Gan Tao of our university achieved several “firsts” in the protection and inheritance of Jiangnan Sizhu music: for the first time, comprehensively elaborated and analyzed the formation and ontological characteristics of “Jiangnan Sizhu”; for the first time, systematically sorted out and summarized the circulated musical scores of “Jiangnan Sizhu”; for the first time, systematically sorted out the musical instrument performance marks and symbols of “Jiangnan Sizhu”. Mr. Gan Tao is praised by later generations as the “master of Jiangnan Sizhu” and the “living dictionary” of Jiangnan Sizhu. Nanjing University of the Arts is located in the south of the Yangtze River, having a natural “mother – tongue” gene for the performance of Jiangnan Sizhu and an unshirkable responsibility for the inheritance of Jiangnan Sizhu. The disciplinary context starting from Mr. Gan Tao should be continued. Through the teaching of this part, students can understand the cultural context of traditional Chinese music, so that they can tell Chinese stories well in their “mother tongue”.
3.5 Incorporate the teaching concept of “music + technology”
Cultivating compound art talents of “music + technology” is the demand of social development and the call of the times to create new glories of socialist culture. Opportunities and challenges coexist. Higher music education should continue to keep pace with the times and use new knowledge of technology to expand the broad prospects of music education. This part will make the exchange and intercommunication of music and technology teachers, seize the opportunities brought by digital technology, and cultivate more high – quality new – type art talents for the society.
4.Design and Effects of Practical Teaching Activities
4.1 Practical Design – Four Combinations
The art form of music performance is firmly rooted in the stage and practice, and neither of them can be absent. The stage serves as the abode of the soul for music performance, shouldering the charm of music. On the stage, musical notes convey emotions and artistic values. Practice, on the other hand, constitutes the cornerstone of music performance and is the indispensable path for honing skills. Without the stage or practice, music performance would lose its splendor and vitality.
Within the curriculum system, the teaching of the “Artistic Practice” segment holds significant importance. It has designed abundant teaching content, with the core objective being to create a diverse range of stage – practice opportunities for students. These opportunities encompass small – scale indoor concerts, large – scale public performances, as well as traditional and modern – style music performances, etc., enabling students to comprehensively experience the allure of music performance.
To enhance students’ practical capabilities, we are dedicated to four combinations. First, there is the combination of solo and ensemble. Solo performance allows students to explore their potential, cultivate their individuality, and refine their skills. Ensemble, in contrast, empowers students to learn cooperation and appreciate the beauty of harmony. The two aspects complement each other and jointly construct a complete performance ability. Second, there is the combination of teaching and the stage. Teaching furnishes students with knowledge and skills, while stage practice can transform theoretical knowledge into vivid performances. Moreover, stage practice can also provide feedback for teaching, thereby forming a virtuous cycle. Third, there is the combination of rehearsal and competition. Rehearsal is the process of meticulously polishing works and elevating their quality. Competition, meanwhile, provides a high – pressure environment that enables students to accumulate experience, maintain stable performance, and thus elevate the results of rehearsal. Fourth, there is the combination of practice and employment. Practice functions as a bridge to employment, allowing students to adapt in advance to the requirements of orchestra work, enhance their skills, cultivate various capabilities, and thereby lay a solid foundation for entering the orchestra.
This practical teaching mode resembles a lighthouse and a bridge, playing an outstanding pre – job training role in terms of students’ employment, their entry into an orchestra, and their becoming key members of a band. It assists students in smoothly transitioning from campus to the workplace and enables them to take firm steps on the path of music performance towards the peak.
4.2 Effects
Since 2018, we have deeply realized the deficiencies and problems that students have in practice. After in – depth research and careful preparation, we have incorporated ensemble and chamber music into the curriculum teaching system in order to effectively improve students’ practical abilities. This measure is like throwing a stone into a calm lake, creating ripples one after another and bringing new vitality and opportunities to the whole course.
The students in this course have shown remarkable strength and potential under this innovative teaching mode. They are like brilliant new stars, standing out in various major competitions. They won two “Wenhua Awards” of the Ministry of Culture of China, which is a highly authoritative award in the country, at one time, which highly recognizes their skills and efforts. At the same time, they also performed excellently in important awards within Jiangsu Province. They not only won the “Wenhua Award” of Jiangsu Province but also shone brightly on the stage of the Jiangsu Provincial College Students’ Art Festival, which gathers outstanding students from the whole province. They won one special prize and one first prize. In addition, in the Jiangsu Provincial Jiangnan Sizhu Invitational Tournament with regional characteristics and cultural connotations, the students also won the third prize with their solid foundation and excellent performance. These important awards in major competitions are like monuments, witnessing the students’ hard work and outstanding achievements in the music path.
So far, there have been five graduating classes of students participating in the practical courses. These graduates are like plump seeds, taking root, germinating and growing vigorously in the music soil. They have all been successfully employed and found their own positions in their respective orchestras. Moreover, they have become the backbone of solo and ensemble performances in the orchestras, just like the mainstay of the orchestras, playing a key role in every performance. Whether it is the in – depth understanding and interpretation of works during rehearsal or the wonderful presentation in front of the audience on the stage, they all show extremely high professional quality and artistic charm, contributing to the development and prosperity of the orchestras.
5.Teaching Methods and Case Analysis
5.1 Case One: Analogy Method
In the practical process of music teaching, teachers frequently encounter a wide variety of problems, and resolving these issues demands ingenious approaches. Take, for instance, the situation when dealing with a student’s muscle tension issue during performance. It was a rather arduous challenge. This student was completely clueless about what a relaxed state felt like, and was even more bewildered regarding the appropriate application of relaxation and force during the performance process. Full of doubts, he asked the teacher, “If I don’t exert force when playing the violin, how can it produce a loud sound?” This is a classic case of confusion stemming from a lack of understanding of the force exertion in performance.
At this moment, the teacher demonstrated remarkable teaching acumen and adopted the analogy method to assist the student’s comprehension. The teacher commenced with an illustrative example: “Picture this. Suppose we are going to pick up a bottle of mineral water. If you use only the feeble force as if you were picking up a piece of paper, just gingerly pinching something, you surely won’t be able to lift the bottle because the force is far too weak. On the contrary, if you use the force as if you were hugging a large watermelon, you’ll find your muscles becoming extremely tense since you’ve applied far more force than necessary to pick up a bottle of water. Moreover, such excessive force will also mar the tone during violin playing, making it sound unpleasant, much like over – force spoiling the original beauty of the sound. When picking up a bottle of water, we should use precisely the right amount of force, neither excessive nor insufficient. This is the ideal state.” This vivid example immediately painted a clear image in the student’s mind, like suddenly illuminating a bright light in the darkness. He grasped the concept immediately. Subsequently, during the practice of performance, he made significant improvements in handling relaxation and force, and his performance level also witnessed a corresponding enhancement.
5.2 Case Two: Teaching Students in Accordance with Their Aptitude
Every student has their unique personality, interests, and capabilities. The allure of education lies in its ability to conduct targeted instruction based on these individual differences. There was once a student who had relatively weak fundamental skills and seemed to struggle along the traditional path of music learning. However, he had an intense passion for folk music and opera music. This passion was like a blazing flame, illuminating his unique journey in the music world. Not only did he adore these musical genres, but he also exhibited a strong spirit of exploration, always actively delving into their mysteries.
In response to the distinct characteristics of this student, the teacher showcased outstanding teaching prowess in teaching students in accordance with their aptitude. The teacher meticulously customized a series of exclusive teaching plans for him, much like crafting a bespoke key for him to unlock the treasures of music. The teacher scoured various sources to collect musical pieces of opera arias. These pieces are like portals leading to the very soul of opera music, with each note carrying the rich charm and profound emotion of the opera. Concurrently, the teacher also procured the traditional musical scores of different folk music schools for him to study. These scores are like historical scrolls of folk music, presenting the diverse and vibrant styles and allures of folk music. In guiding the graduation thesis, the teacher further encouraged him to conduct in – depth research on vocal cavity art, enabling him to explore deeper within the field he cherished.
Under such painstaking cultivation, this student flourished. After graduation, he assumed the role of principal huqin player in an opera troupe. On this stage, he was in his element, like a fish in water. With his huqin music, he enhanced the allure of the opera and became an indispensable mainstay in the troupe, just like a resplendent star shining brightly in the firmament of opera music, contributing his unique strength to the inheritance and development of traditional music.
5.3 Case Three: Psychological Construction Method
In the journey of students’ music learning, psychological factors often play a decisive role. Sometimes, they can act as stumbling blocks impeding students’ progress, while at other times, they can serve as powerful driving forces propelling students to break through their limitations. There was one such student who was introverted and usually reserved. Beneath his calm exterior, however, lay an extremely ambitious heart. He set high standards for himself, and the sight of his classmates practicing difficult concertos around him spurred him to work hard.
Nevertheless, reality often falls short of expectations. Due to his less – than – solid fundamental skills, much like a building lacking a stable foundation, and compounded by his intense competitiveness, he frequently made mistakes when playing the allegro sections during performances. Each successive mistake was like a scar etched deeply on his heart. Over time, these negative experiences took a severe toll on his confidence, creating a vicious cycle. Even for those musical pieces that he had practiced to perfection off – stage, once he stepped onto the stage, a flood of nervous emotions would overwhelm him, resulting in frequent disruptions in the sound. He developed an acute stage fright, much like a startled little bird, feeling lost and disoriented in what was once a familiar environment.
In response to this student’s complex psychological state, the teacher implemented a carefully designed psychological construction method. Firstly, the teacher had him practice some slow – tempo musical pieces. These pieces were like serene havens, providing a temporary respite for his frazzled mind. During the practice sessions, the teacher focused on guiding him to adjust his breathing and mindset, teaching him to find inner tranquility within the music. When it came to stage performances, he was also assigned to play these slow – tempo and relatively simple musical pieces, which significantly reduced the number of mistakes he made during the performance. Each successful performance was like a potent shot of confidence – booster, gradually helping him regain his self – assurance.
With the gradual restoration of his confidence, the teacher initiated fundamental – skill training for him. This process was gradual and methodical. Based on his actual capabilities and within the scope of what he could handle, the teacher incrementally increased the difficulty of the practice, much like building a ladder step by step, thereby facilitating his improvement. Throughout this process, he continuously overcame difficulties, gradually broke free from his limitations, and reclaimed his love and confidence in music performance.
In the teaching process, both comprehensiveness and pertinence are indispensable. Comprehensiveness requires that teaching contents cover a wide range. Contemporary works reflect modern musical thoughts and styles, enabling students to be exposed to cutting – edge musical concepts. Traditional works carry the course of musical development and are the foundation for understanding the evolution of music. Works of intangible cultural heritage, as the crystallization of national culture, with their unique musical elements and forms of expression, can inherit the soul of national music. “Music + technology” opens the door to musical innovation, making students adapt to the development of music in the new era. Stage practice is the key to the combination of theory and practice, which can train students’ performance abilities.
Pertinence emphasizes teaching students in accordance with their aptitude. Every student is a unique individual with different personalities. Some are outgoing and enthusiastic, while some are introverted and calm. Their strengths and weaknesses also vary. For example, some students have a strong sense of music but are weak in performance skills, and some have a deep understanding of works but lack performance appeal. Teachers should have keen insights and customize training for students according to their deficiencies. For example, special exercises can be arranged for those with insufficient skills. At the same time, teachers should explore students’ advantages. If a student has a good sense of rhythm, teachers should guide the student to develop in this aspect in – depth. Assigning homework and conducting examinations and evaluations should also follow this principle. They should be designed according to students’ levels and characteristics, so that students at different levels can make progress in a mode suitable for themselves, thus promoting the development of music learning.
6.Teaching Conditions
6.1 Teaching materials .
Firstly, excellent anthologies of solo erhu music in China are selected, including: “Selected Erhu Pieces 1949 – 1979” compiled by the Chinese Musicians Association and published by People’s Music Publishing House, “Liu Tianhua’s Compositions” compiled by the Music Research Institute of the Chinese Academy of Arts and published by People’s Music Publishing House, “Liu Wenjin’s Erhu Works Collection” published by Shanghai Music Publishing House, and “Selected Erhu Exercises” published by People’s Music Publishing House, etc.
Secondly, teaching materials compiled by teachers of Nanjing University of the Arts are selected, including: “Jiangnan Sizhu Music” compiled by Professor Gan Tao, a famous musician, national instrumental music performer, and educator in our university, and published by Jiangsu People’s Publishing House, “Famous Masters Teach Erhu” compiled by Professor Ma Youde, a famous erhu performer and educator in our university, and published by Jiangsu Literature and Art Publishing House, “Selected Works of Wang Jianmin’s Erhu Compositions” created by Professor Wang Jianmin, a famous composer and former dean of the School of Music of Nanjing University of the Arts, and published by Shanghai Education Publishing House, etc.
Thirdly, excellent new solo erhu or huqin ensemble works that have not been published and are newly composed, transplanted, or adapted by composers are selected.
6.2 instructional environment
Currently, the school has several piano rooms dedicated to teaching and a large rehearsal hall, and has also created favorable conditions for students’ stage practice.
The piano rooms are distributed in suitable areas on the campus. They are meticulously designed, with a moderate area and a reasonable layout. On the walls are hung portraits of musicians or artworks related to music, creating a strong artistic atmosphere. The musical instruments in the rooms are of excellent quality, with a beautiful timbre, meeting the high requirements for sound quality. The advanced soundproofing equipment provides students with a quiet and focused practice space.
The rehearsal hall is magnificent and spacious, capable of accommodating large music groups. The wooden floor materials are both beautiful and can enhance resonance to a certain extent. The design of the ceiling is scientific, facilitating the even spread of sound. The lighting system in the hall can be adjusted according to different needs to create an appropriate atmosphere. The advanced audio equipment can perform high-quality amplification and optimization of the performance sound to ensure the accurate transmission of each note.
In the school’s concert hall and auditorium, students actively carry out various activities. The concert hall is elegant and exquisite, while the auditorium has a strong artistic flavor and first-class acoustic design, which can bring the audience an ultimate auditory enjoyment. Students have carried out stage practice here many times and held concerts of various forms. During the preparation process, they have improved their performance level and learned how to show their charm and communicate emotionally with the audience.
The person in charge of the course has gone to great lengths to expand students’ stage practice opportunities. They have close cooperation with Beijing Poly Theatre Management Co., Ltd. Jiangsu Performing Arts Group is an important partner. They also maintain long-term and stable cooperation with Changzhou Song and Dance Theatre and other institutions. Each of them has its own characteristics, bringing diversified learning and practical opportunities for students, helping students grow up in a favorable teaching environment, enhancing their musical literacy and performance ability, and laying the foundation for their musical journey.
7. Summary and Prospect
The erhu is the most representative national bowed string instrument in China, and the erhu solo course is offered in various domestic music and art academies. The erhu solo course is a compulsory professional core basic course for undergraduate students majoring in erhu at Nanjing University of the Arts. Through the training of students’ performance techniques, this course enables students to possess a relatively high – level erhu performance skill, proficiently master the performance of traditional and contemporary famous erhu pieces as well as those of various styles and schools, and understand and master the relevant theoretical knowledge of the erhu.
This course adheres to the fundamental task of fostering virtue through education. It promotes the spirit of Chinese aesthetic education through teaching content and cultivates qualified constructors and reliable successors for the country’s art undertakings. Through the Chinese styles, Chinese ambience, and Chinese spirit demonstrated by the excellent musical works selected in the course, students’ sense of pride and identity in the extensive and profound excellent ethnic music culture are stimulated, thereby helping students establish correct, far – reaching artistic, academic, and creative outlooks. It comprehensively improves students’ aesthetic and humanistic qualities, enhances cultural confidence, and makes great efforts to train students into modern art talents with sentiment, aspiration, and responsibility, so that they can consciously inherit and promote the excellent traditional Chinese culture.
Funding：Nanjing University of the Arts Teaching Reform Research Project “Study on the Diversified Talent Cultivation Teaching System for Chinese Musical Instrument Performance Majors” (Project Number: KY204YL2111-041)
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