Both Asia and Europe began to study folk music very early. However, as the beginning of a science-music ethnology, it is generally marked by the paper "On the Standards of Ethnic Groups" (1885) published by British A.J. Ellis at the end of 2009. He suggested that phonological notation be used to compare and study the phonology (mainly scales) of various ethnic groups, thus laying the foundation for the scientific measurement of phonology. 1902, German musician C. Stumpf set up a record file in his laboratory (Berlin University), collected the acoustic data of national music by using the newly invented recording method, and tried to measure and record it accurately. Soon after, Hornbostel, O. Abraham and R. Rahman, both belonging to Berlin School, studied the music of non-European nationalities, especially the formation process of temperament and scale, from the perspectives of vocal music, national psychology and anthropology, and published their research results that are still influential today. Before 1930s, another outstanding achievement of Berlin School was that C. Sachs and others laid the foundation for comparative musical instruments. The classification of musical instruments proposed by him is to divide musical instruments into body-sounding instruments, membrane-sounding instruments, string-sounding instruments and air-sounding instruments (later electric-sounding instruments), which is an outstanding achievement of the most widely used musical ethnology research. 1950, J. ginster, a musicologist who studied Java music, published a book "Music Ethnology", suggesting that "Comparative Musicology" be renamed as "Music Ethnology". After that, there was a tendency to emphasize that music should be studied in the whole social and cultural background, and the research of music ethnology in the United States, Japan and other countries also made remarkable progress. China has attached importance to the study of legal theory since ancient times. After entering the 20th century, Wang Guangqi first introduced the music ethnology of Berlin School to the East, trying to study China's traditional music theory from the perspective of music ethnology, and put China's music into the three major music departments in the world, and made an investigation under the background of music, including the study of eastern and western music systems (1926) and the study of China's music history (1934). Miao (Law), Yang and Shen also introduced Ellis's phonological symbol theory to China. During the War of Resistance against Japanese Aggression period, the China Folk Music Research Association in Yan 'an conducted a large-scale investigation on the Shaanxi-Gansu-Ningxia Border Region. Starting from 1979, in order to save the national folk music heritage, all parts of the country are vigorously developing the compilation and publication of China folk songs, opera music, folk music, national folk instrumental music and song and dance music. Yang is also the author of Twelve Kinds of Music Business Reference Materials, which is a monograph on the methodology of traditional music research in China. 1 In June, 1980, the 1st1National Symposium on China Traditional Music was held in Nanjing. Since then, academic exchange activities have been held every other year.

The question "Review of the Development of China Folk Musicology" (1950-2000) put forward by Shen Qia is a review of the development of China folk musicology from 1950-2000.

From 65438 to 0980, the seminar on ethnomusicology held in Nanjing Art Institute was a watershed. The development of ethnomusicology in China can be divided into two stages. First, from the 1950s to the late 1970s. Second, from the late 1970s to the 20th century.

Due to the introductory translation of ethnomusicology by Liao Naixiong and Luo Chuanchuan of Shanghai Conservatory of Music, ethnomusicology entered China in the late 1970s. At this time, ethnomusicology, as a new discipline from abroad, began to develop in China. Before that, from 1950s to the end of 1970s, before ethnomusicology was introduced, was China's "ethnomusicology theory" or "ethnomusicology research" regarded as one of the stages of the development of ethnomusicology in China?

Different scholars have different views on this issue, and academic circles have also formed two views. One is that scholars represented by Gao think that "national music theory" or "national folk music research" belongs to the category of national musicology. Second, Du believes that "national music theory" or "national folk music research" does not belong to a stage of the development of China national musicology, because it is different from the academic system of national musicology.

Mr. Shen Qia agrees with Mr. Gao that "national music theory" or "national folk music research" is a special stage of the development of Chinese national musicology, and it is the foundation and indispensable stage of the development of national musicology.

This paper introduces the development of folk music research in China from three aspects. The first is the establishment, finalization and popularization of the academic framework of "National Music Theory". The second is the in-depth development of field trips and the expansion of the scope of music collection and arrangement. Third, broaden the research field, paying special attention to the so-called "oriental music" and "Asian, African and Latin American music".

During this period, Shen Qia called it "the period of national music theory", founded research institutions, established academic theories and launched the national music movement. The establishment of China Conservatory of Music was the peak of this period.

1953, Yang led the collection of Shanxi folk songs.

From 65438 to 0956, Yang led folk music collecting activities in Hunan.

1956, Mr. Shen proposed the subject name of "National Music Theory".

From 65438 to 0958, Yu Huiyong put forward the disciplinary framework of "National Music Theory".

From 65438 to 0958, some musicians participated in the "National Minority Survey" organized by the Central Ethnic Affairs Commission. Promote the combination of ethnology and musicology.

From 65438 to 0959, Shen noticed music research in other countries except China.

1962, Yu Huiyong opened the course of music morphology research.

1964, the publication of "Introduction to National Music" marked the academic finalization and popularization of "National Music Theory".

1964, China Conservatory of Music was established, offering courses such as Oriental Music.

Above & gt is the general framework of national music research at this stage. It also includes many specific problems.

1. Regarding the subject hypothesis of "national music theory", Shen thinks that the concept of "national music" is broader than "folk music". It can include' court music',' religious music',' scholar-bureaucrat music',' literati music' and' folk music'. "And hope to establish China's own music theory system. Yu Huiyong believes that "national music theory should be divided into vertical research and horizontal research". The vertical research includes folk songs, national instrumental music, traditional opera and folk art, which is the study of music types, while the horizontal research is the study of folk music forms. The difference between them is that Shen is the range of traditional music, so it is the range of folk music. Traditional music includes folk music, and the scope of national music is larger than traditional music.

2. Yu Xiansheng emphasized two aspects of subject learning, one is the two four aspects of longitudinal research, and the other is the "four big pieces" of western composition technology theory, which is the first solid foundation that a national music scholar should have. The second is the application of theory in the fields of artistic practice such as music creation and music performance, which is the purpose and value of our study and research on national music theory.

3. Works, there are many academic works and collections in this period, but most of them are an overall overview, classification and summary of all aspects of folk music. For example, the study of traditional Chinese opera music and Yuan's national instrumental music. Without in-depth study from a very small aspect.

4. The value of collecting folk songs lies in the combination of diachronic research and temporal research. This is of great value to the study of music history and ethnomusicology.

5. In the process of collecting wind, the scope, purpose and methods of collection have changed, especially the collection method "gradually realized the importance of some humanities related to' music sound' from paying attention to' music sound' itself, and there was a trend of combining anthropology with individual scholars." Since then, scholars have begun to pay attention to cultural background. It embodies the disciplinary characteristics of the combination of ethnology and anthropology, and is an important aspect of the development of ethnomusicology. The ethnomusicology of American school pays attention to the combination of music and cultural background, which is the further development stage of ethnomusicology after comparative musicology. Isn't this the research method of ethnomusicology?

6. "In fact, the concern for traditional music culture outside Europe began as early as the initial stage of the' National Music Theory'." 1 folk music theory broadens our thinking, not only studying our own music, but also paying attention to music outside Europe. But it was first put forward by Shen to solve the problem of music history research. It has a strong historical purpose. In addition, understanding these non-native music is to "broaden students' horizons and help students know themselves from a broader background of human music civilization." "This is precisely the application of comparative musicology research methods.

7. "National Music Theory" and "National Musicology". The two are interlinked: the main research object is "traditional music other than European art music"; All need to be based on field trips. Differences: "ethnomusicology" faces the music of all nationalities in the world, focusing on the comparison between different cultures, and is "extroverted"; The main body of "National Music Theory" is that China scholars study China's own tradition, which is "internal". But now ethnomusicology should turn from "foreign culture" to "internal culture". Because "only people who belong to the cultural circle are the most authoritative knowledge and understanding of music in their own culture." Therefore, the theory of folk music and ethnomusicology are inseparable. Must be integrated into national music.

This period was different because of the Nanjing Conference in the 1980s. When western ethnomusicology entered China, the first thing that triggered it was the dispute about the subject name. This paper describes the content of Ming Debate in detail and summarizes the academic research fields in this period.

The first is the definition of the name "ethnomusicology". In China, "national music" refers to the traditional music of China, which has become an idiom in China. Therefore, in order not to confuse ethnomusicology with ethnomusicology, the name "ethnomusicology of music" was born. In addition, people have also produced various versions, such as Musicology, Anthropology, and Anthropology of Music Culture. It is also suggested that "nation" be translated into "race" or "race". However, from this debate, the academic community has made it clear that the concept of nation is related to culture.

In fact, since ethnomusicology was introduced to China, it has always been based on Mei's anthropological model as a classic ethnomusicology, that is to say, China's ethnomusicology has been influenced by meriam's anthropological model. As early as 1950s, China's ethnomusicology had "cultural infiltration".

"So, in my opinion,' ethnomusicology' and the subject name' family' with' anthropology' as the root are actually synonyms, and should not be described as two stages of ethnomusicology's development in China at all." Nation refers to the stable isomorphism formed by people's long-term development in history. Ethnology is a discipline that studies the origin, development, prosperity, separation, extinction and its laws of nations. Anthropology is a discipline that studies human beings themselves and the laws of their development and change. The third research content is the characteristics and relationship between material culture and spiritual culture. From these concepts, we can see that both ethnology and anthropology study the law of human development and are people-oriented. Take the culture created by people as the research background. During this period, the study of national music is not only the study of music types and forms, but also the infiltration of culture in national musicology.

The second part of this stage is an overview of the research field. It is introduced from nine aspects: First, the compilation and publication of western ethnomusicology documents. Second, the study of discipline methods. Third, the research and compilation of ethnomusicology. Fourth, the study of the nature of cultural geography. V. Study on the nature of cultural history. Sixth, cross-cultural comparative study. VII. Research on non-European traditional music culture outside China. Eight, the use of computers and other modern science and technology to assist the study of ethnomusicology. Nine, the teaching and practice of ethnomusicology.

During this period, the compilation and publication of western national musicians' documents were relatively weak. There are two main categories, one is translated and published monographs, and the other is "translation collections" edited by editors. For the content, there are many compilers of methodology, but few compilers of specific research. More is to introduce ethnomusicology into China, introduce this subject and how to conduct research on this subject. Few articles and works apply this theory to the specific study of music.

Discipline methodology is an important link to promote discipline development. The importance of research method lies in that it is the premise direction of research. Every scholar should pay attention to this point, sum up his own research methods from practice according to his own specific research, and don't be divorced from reality and talk about methods. The combination of theory and practice is very important and convincing. Research methods should not be static, but should be constantly followed up and improved. With the continuous development and progress of the discipline, we should absorb new and cutting-edge theories from others.

In order to survive, national music scholars should not only master the research methods, but also conduct on-the-spot investigations and accumulate national music. Compilation of "Records of National Music". It is advocated to complete local chronicles directly on the basis of field investigation, so the information obtained is very precious.

The study of cultural geographical division means that scholars study music according to the division of cultural areas and study music from the perspective of culture.

There are two problems in the study of the nature of cultural history: First, in the research practice, we try to combine diachronic data with temporal data to repackage China's music history. Second, on the basis of investigation and study of existing music materials, ethnomusicologists refer to literature, cultural relics and other materials to explore the blood relationship, development and changes of music.

Cross-cultural comparative study is the research field of comparative musicology. At the end of 1970s, Wang Guangqi's emphasis on comparative musicology began to really develop in China. Most of them were comparisons between China and the West, and a large number of works appeared.

With the development of society, the development of high technology has also promoted the study of ethnomusicology. As a special subject, ethnomusicology also needs the assistance of modern science and technology. There are four applications.

Teaching and application of ethnomusicology. Offering a large number of courses related to national music in schools is also an important part of the development of this field. An extensive study of national music. Formal application of ethnomusicology. The development of a subject will inevitably lead to education.

It can be said that the development of ethnomusicology in China has just started, and it needs a certain development process to mature. With the deepening of the understanding of ethnomusicology, its research object, research method and research purpose will change in different stages. As a special period in the development of China's national music, the period of "theoretical research on national music" is a stage that cannot be ignored. Without the research in this period, China's ethnomusicology would not have developed to the present stage. This is good bedding. Only in this way can ethnomusicology develop so fast in China and be accepted quickly.

The development of ethnomusicology must develop in a broader research direction. Its diversity and interdisciplinary nature put forward high requirements for national musicians. We should not only master the research methods of this discipline, but also master the methods of other disciplines.