the historical summary of music history basically inherited this tradition in various music works in the Middle Ages, from A.M.S Bo Aixiu's Principles of Music in the 6th century to the 14th century, that is, mainly talking about music theory, occasionally involving some historical events or memorabilia. Although it can be used as historical materials, it is not music history. In the early Renaissance, J. Tinctoris, G. Zalino, V. Galilei and others began to quote previous music theories and works, and added their own comments, showing their concern for history. In 16, German S. Calvisi Uss (1556 ~ 1615) wrote a chapter "The Origin and Progress of Music" in his book "Music Practice II", which not only explained the origin of music from a theological point of view, but also praised ancient musicians in chronological order. Many historical events, including stories and legends, have been recorded in Praetorius's Collection of Music and A. kircher's General Theory of Music (162 ~ 168), but they are not in chronological order. The works that can really be called the history of music began with the History of Noble Singing Art and Sound Art by W K Plinz (1641 ~ 1717). The book introduces the origin and development of music in different historical periods, and writes biographies to the main musicians from the legendary Jewish musician Yoba to the 17th century in chronological order. After that, a large number of works of general history began to appear. The focus of music historiography has turned to the integration of historical materials, the personal biographical writing and style research of composers, so Bach Society and Handel Society were established. With Faucoeur's biography of Bach as the forerunner, many excellent biographies of famous composers appeared, which also led to the editing and publication of the complete works of G.F. Handel, J.S. Bach, L.van Beethoven, W.A. Mozart, F. Schubert and others, and there was a tendency to take composers as the historical center in research thoughts, which was found in A.W. Ambrose, F.- Due to the gradual maturity of musicology, large professional dictionaries have also appeared, such as the Dictionary of Music and Musicians by G. Grove, the Encyclopedia of Music by H. Riemann and the Dictionary of Music Academy by A. Lavignac. At the beginning of the 2th century, the research focus of music history gradually turned to the study of style history, tending to discuss from the direction of music self-discipline, which began with Riemann's Handbook of Music History, followed by Oxford Music History, J. Compallo's Musical History and H. Kraetzschmar's Handbook of Style Music History. In addition, works on dynastic history, professional history and biographies are also surging. After World War I, G Adler put forward that style criticism should be the main task of music history research, forming a new trend, such as Handbook of Music History, which has certain influence on the West. Since then, there have been more and more works, and their positions, viewpoints and tendencies are quite inconsistent. After World War II, the development of music historiography is a combination of two trends: integration and specialization. The former shows that the collective writing tendency of encyclopedias and music history is strengthened, and many well-known dictionaries are constantly appearing and revised. There are more books on specialization. With the development of music ethnology, the study of music history in the west has gradually shifted from "Eurocentrism" to the study of music history of all mankind, and this tendency has begun to appear in the History of Musical Instruments by Sachs. W Viola's Four Times of Music fully shows this idea. However, at present, the music history of Asia, Africa and Latin America is still in the stage of in-depth study except that Japanese scholars have studied their own country and East Asia. China's research on music history has a long history. As early as the pre-Qin period, hundred schools of thought paid attention to the narrative and discussion of music theory and historical materials. In the official history of each generation, which began with Historical Records, there are Records of Music (or Records of Music, Records of Rites and Music, Records of Laws and Calendars) which record the evolution, system, theory and lyrics of music. In addition, there are records about music in Tongdian, Tongzhi, Literature General Examination (Yuan), Tang Huiyao, Song Yaohui Compilation, Jing Shi Da Dian (Yuan), etc. There are also many historical materials in books such as The Book of Beginners in the Tang Dynasty, A Collection of Arts and Literature, A Review of Taiping in the Song Dynasty, A Compilation of Jingchuan in the Ming Dynasty, and A Collection of Ancient and Modern Books in the Qing Dynasty. There are more specialized works, such as Yuefu Miscellanies by Duan Anjie in Tang Dynasty, Yuefu Poetry Poems by Guo Maoqian in Song Dynasty, Yueyuan Zhile by Han Bangqi in Ming Dynasty, Justice of Law and Lv in Qing Dynasty, Textual Research on Yan Yue by Ling Tingkan, and A General Examination of Tone and Rhythm by Chen Li, etc., but most of them mix jurisprudence, theory and historical materials. China's music history in the sense should be the first music history in China, which was founded by Ye Bohe at the beginning of this century. Wang Guangqi's Music History of China (1934), Yang Yinliu wrote An Outline of Music History of China, which was updated in 1977 as Draft of Ancient Music History of China. In addition, great progress has been made in the study of special history and western music history. From the very beginning, Ye Bohe wanted to get rid of China's traditional historical concept. When Ye Bohe wrote China's first music history, he put forward at the beginning: "Music history is an important part of studying the history of general thought and civilization. Because music is the need to supply human spiritual life, and food, clothing and housing are the same as the need to supply human material life, so the first item of writing music history should pay attention to the development of humanities in an era, and the second item is the achievement of textual research on works of past dynasties. This gentleman, who studied politics, law and music in Japan, was obviously dissatisfied with China's inherent concept of managing history, so he proposed that music history should be included in the social and historical process as a part of the whole social science. He thought that "we should dispel all the old ideas before and observe it with a new philosophical and scientific eye", and that doing so "is the history of music". This historical concept is different from the traditional one, which leads him to pay great attention to the development clues of music itself as one of the arts. His historical stages are: 1. The era of invention (before the Yellow Emperor), 2. The era of evolution (after the Yellow Emperor to the Zhou Dynasty), 3. The era of change (after the Qin and Han Dynasties to the Tang Dynasty) and 4. The era of integration (Song, Yuan, Ming and Qing Dynasties). Although the richness of historical materials can't be compared with the historical works of many scholars in the future, it is obviously more important to pay attention to music itself than to classify the history of music as a reasonable component of dynastic history later. If Ye Bohe is the representative of the historical concept of China's music history in the 192s, Wang Guangqi's concept of managing history in the 193s is particularly noticeable.
the historical summary of music history basically inherited this tradition in various music works in the Middle Ages, from A.M.S Bo Aixiu's Principles of Music in the 6th century to the 14th century, that is, mainly talking about music theory, occasionally involving some historical events or memorabilia. Although it can be used as historical materials, it is not music history. In the early Renaissance, J. Tinctoris, G. Zalino, V. Galilei and others began to quote previous music theories and works, and added their own comments, showing their concern for history. In 16, German S. Calvisi Uss (1556 ~ 1615) wrote a chapter "The Origin and Progress of Music" in his book "Music Practice II", which not only explained the origin of music from a theological point of view, but also praised ancient musicians in chronological order. Many historical events, including stories and legends, have been recorded in Praetorius's Collection of Music and A. kircher's General Theory of Music (162 ~ 168), but they are not in chronological order. The works that can really be called the history of music began with the History of Noble Singing Art and Sound Art by W K Plinz (1641 ~ 1717). The book introduces the origin and development of music in different historical periods, and writes biographies to the main musicians from the legendary Jewish musician Yoba to the 17th century in chronological order. After that, a large number of works of general history began to appear. The focus of music historiography has turned to the integration of historical materials, the personal biographical writing and style research of composers, so Bach Society and Handel Society were established. With Faucoeur's biography of Bach as the forerunner, many excellent biographies of famous composers appeared, which also led to the editing and publication of the complete works of G.F. Handel, J.S. Bach, L.van Beethoven, W.A. Mozart, F. Schubert and others, and there was a tendency to take composers as the historical center in research thoughts, which was found in A.W. Ambrose, F.- Due to the gradual maturity of musicology, large professional dictionaries have also appeared, such as the Dictionary of Music and Musicians by G. Grove, the Encyclopedia of Music by H. Riemann and the Dictionary of Music Academy by A. Lavignac. At the beginning of the 2th century, the research focus of music history gradually turned to the study of style history, tending to discuss from the direction of music self-discipline, which began with Riemann's Handbook of Music History, followed by Oxford Music History, J. Compallo's Musical History and H. Kraetzschmar's Handbook of Style Music History. In addition, works on dynastic history, professional history and biographies are also surging. After World War I, G Adler put forward that style criticism should be the main task of music history research, forming a new trend, such as Handbook of Music History, which has certain influence on the West. Since then, there have been more and more works, and their positions, viewpoints and tendencies are quite inconsistent. After World War II, the development of music historiography is a combination of two trends: integration and specialization. The former shows that the collective writing tendency of encyclopedias and music history is strengthened, and many well-known dictionaries are constantly appearing and revised. There are more books on specialization. With the development of music ethnology, the study of music history in the west has gradually shifted from "Eurocentrism" to the study of music history of all mankind, and this tendency has begun to appear in the History of Musical Instruments by Sachs. W Viola's Four Times of Music fully shows this idea. However, at present, the music history of Asia, Africa and Latin America is still in the stage of in-depth study except that Japanese scholars have studied their own country and East Asia. China's research on music history has a long history. As early as the pre-Qin period, hundred schools of thought paid attention to the narrative and discussion of music theory and historical materials. In the official history of each generation, which began with Historical Records, there are Records of Music (or Records of Music, Records of Rites and Music, Records of Laws and Calendars) which record the evolution, system, theory and lyrics of music. In addition, there are records about music in Tongdian, Tongzhi, Literature General Examination (Yuan), Tang Huiyao, Song Yaohui Compilation, Jing Shi Da Dian (Yuan), etc. There are also many historical materials in books such as The Book of Beginners in the Tang Dynasty, A Collection of Arts and Literature, A Review of Taiping in the Song Dynasty, A Compilation of Jingchuan in the Ming Dynasty, and A Collection of Ancient and Modern Books in the Qing Dynasty. There are more specialized works, such as Yuefu Miscellanies by Duan Anjie in Tang Dynasty, Yuefu Poetry Poems by Guo Maoqian in Song Dynasty, Yueyuan Zhile by Han Bangqi in Ming Dynasty, Justice of Law and Lv in Qing Dynasty, Textual Research on Yan Yue by Ling Tingkan, and A General Examination of Tone and Rhythm by Chen Li, etc., but most of them mix jurisprudence, theory and historical materials. China's music history in the sense should be the first music history in China, which was founded by Ye Bohe at the beginning of this century. Wang Guangqi's Music History of China (1934), Yang Yinliu wrote An Outline of Music History of China, which was updated in 1977 as Draft of Ancient Music History of China. In addition, great progress has been made in the study of special history and western music history. From the very beginning, Ye Bohe wanted to get rid of China's traditional historical concept. When Ye Bohe wrote China's first music history, he put forward at the beginning: "Music history is an important part of studying the history of general thought and civilization. Because music is the need to supply human spiritual life, and food, clothing and housing are the same as the need to supply human material life, so the first item of writing music history should pay attention to the development of humanities in an era, and the second item is the achievement of textual research on works of past dynasties. This gentleman, who had studied politics, law and music in Japan, was obviously dissatisfied with China's inherent concept of managing history, so he proposed that music history should be included in the social and historical process as a part of the whole social science. He thought that "we should dispel all the old ideas before and observe it with a new philosophical and scientific eye", and that doing so "is the history of music". This historical concept is different from the traditional one, which leads him to pay great attention to the development clues of music itself as one of the arts. His historical stages are: 1. The era of invention (before the Yellow Emperor), 2. The era of evolution (after the Yellow Emperor to the Zhou Dynasty), 3. The era of change (after the Qin and Han Dynasties to the Tang Dynasty) and 4. The era of integration (Song, Yuan, Ming and Qing Dynasties). Although the richness of historical materials can't be compared with the historical works of many scholars in the future, it is obviously more important to pay attention to music itself than to classify the history of music as a reasonable component of dynastic history later. If Ye Bohe is the representative of the historical concept of China's music history in the 192s, Wang Guangqi's concept of managing history in the 193s is particularly noticeable.
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