Asia and Europe began to study national music very early. However, as a science, the beginning of musical ethnology is generally marked by the paper "On the Scales of Various Nationalities" (1885) published by A.J. Ellis in England at the end of the 19th century. He suggested using the cent notation method in the comparative study of the sound systems (mainly scales) of various ethnic groups, thus laying the foundation for a scientific measurement method of sound. In 1902, the German musicologist C. Stumpf established a record data archive in his research laboratory (Berlin University), using the newly invented recording method to collect acoustic data of national music, and strived to accurately measure and notate it. Soon after, E.M. von Hornbostel, O. Abraham, R. Lachmann and others who all belonged to the Berlin School studied the music of non-European peoples, especially the music of non-European peoples, from the perspectives of vocal music, ethnopsychology and anthropology. The formation process of temperament and scales was studied, and research results that are still influential today were published. Before the 1930s, another outstanding achievement of the Berlin School was the foundation of comparative instrumental studies laid by C. Sachs and others. The musical instrument classification method he proposed is to divide musical instruments into: body-sounding instruments, membrane-sounding instruments, string-sounding instruments, and air-sounding instruments (later adding electrosounding instruments). It is now the most widely used method in music ethnology research. Highlight results. In 1950, J. Kinster, a musicologist who studied Javanese music, published the book "Musical Ethnology" and suggested that "comparative musicology" be renamed "musical ethnology". After that, there was a trend of emphasizing the need to study music in the context of the entire social and cultural background. Research on music ethnology in the United States, Japan and other countries also made significant progress. China has attached great importance to the study of legal theory and other aspects since ancient times. After entering the 20th century, Wang Guangqi was the first to introduce the musical ethnology of the Berlin School to the East, trying to study traditional Chinese music theory from the perspective of musical ethnology, and listed Chinese music among the three major music families in the world. In the broad background of music He studied in China and wrote "Research on Eastern and Western Music Systems" (1926), "History of Chinese Music" (1934), etc. The theory of Ellis' cent notation was also introduced to China by Miao Tianrui ("Lyx"), Yang Yinliu, Shen Zhibai and others. During the Anti-Japanese War, the Chinese Folk Music Research Association in Yan'an conducted a large-scale survey of the Shaanxi-Gansu-Ningxia Border Region. Since 1979, in order to save the heritage of ethnic and folk music, the work of editing and publishing ethnic music integration related to Chinese folk songs, opera music, folk art music, ethnic folk instrumental music, and song and dance music has been vigorously carried out across the country. Yang Yinliu is also the author of "Twelve Kinds of Music Business Reference Materials", which is a monograph on the methodology of traditional Chinese music research. In June 1980, the first nationwide academic symposium on traditional Chinese music was held in Nanjing. Since then, academic exchange activities have been held every other year.

The question was raised. Shen Qia's "A Review of the Development of Ethnomusicology in China" (1950-2000) is an article that reviews the development of ethnomusicology in China from 1950 to 2000.

In 1980, the "Ethnomusicology Academic Symposium" held at Nanjing University of the Arts was a watershed. Divide the development of ethnomusicology in China into two stages. First, from the 1950s to the late 1970s. Second, from the late 1970s to the 21st century.

Ethnomusicology entered China in the late 1970s due to the introductory translation of ethnomusicology by Liao Naixiong, Luo Chuankai and others from the Shanghai Conservatory of Music. At this time, ethnomusicology, as a new subject introduced from abroad, began to develop in China. Before that, during the period from the 1950s to the late 1970s when ethnomusicology had not yet been introduced, my country's "ethnomusic theory" or "ethnic folk music research" could be regarded as one of the stages of the development of ethnomusicology in China. ?

Different scholars have different views on this issue, and two views have been formed in the academic community. One is that scholars represented by Gao Houyong believe that "ethnic music theory" or "ethnic folk music research" belongs to the category of ethnomusicology.

The other is that Du Yaxiong believes that because "ethnomusic theory" or "ethnofolk music research" is different from the academic tradition of ethnomusicology, it does not belong to a stage of the development of ethnomusicology in China.

Mr. Shen Qia agrees with Gao Houyong's view and believes that "ethnic music theory" or "ethnic folk music research" is a special stage of the development of ethnomusicology in China. It is the foundation for the development of ethnomusicology and is indispensable. a stage.

The article introduces the development of national music research in China at this stage from three aspects. 1. The establishment, finalization and promotion of the academic framework of "ethnomusic theory". 2. In-depth field investigation and expansion of the scope of music collection and arrangement. 3. The broadening of research fields, especially the focus on so-called "Oriental music" and "Asian, African and Latin American music".

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

In 1953, Yang Yinliu led a collection of Shanxi folk songs.

In 1956, Yang Yinliu led a collection of Hunan folk music.

In 1956, Mr. Shen Zhibai proposed the subject name "ethnic music theory".

In 1958, Yu Huiyong proposed the disciplinary framework of "ethnic music theory".

In 1958, some music workers participated in the "National Ethnic Minority Survey" organized by the Central Ethnic Affairs Commission. Promote the integration of ethnology and musicology.

In 1959, Shen Zhibai noticed music research in other countries besides China.

In 1962, Yu Huiyong offered a course on music form research.

The publication of "Introduction to National Music" in 1964 marked the academic promotion of "ethnic music theory".

In 1964, the China Conservatory of Music was established and offered courses such as "Oriental Music".

gt; The above is the general framework of the article’s research on national music at this stage. It also includes many specific issues.

1. As for the subject of "ethnic music theory", Shen Zhibai believes that "the concept of 'ethnic music' is broader than 'folk music'. It can include 'court music', 'religious music', 'literary music' Music', 'literati music', etc., but not 'folk music'" and hopes to establish China's own music theory system. Yu Huiyong believes that “‘ethnomusic theory’ should be divided into ‘vertical research’ and ‘horizontal research’”. The longitudinal study includes folk songs, ethnic instrumental music, opera, and folk art, which is the study of music types, while the horizontal study is the study of the form of folk music. The difference between them is that Shen is the traditional music range, and then the folk music range. Traditional music includes folk music, and the scope of ethnic music is larger and broader than that of traditional music.

2. Mr. Yu emphasized two points in subject learning. One is the two four major pieces, namely the four aspects of longitudinal research and the "four major pieces" of Western composition technology theory. This is the first thing an ethnomusicologist has to say Should have a solid foundation. The second is the application of theory in artistic practice fields such as music creation and music performance. This is the purpose and value of our study and study of national music theory.

3. Works. There were many academic treatises and music collections that appeared during this period, but most of them provided an overall overview, classification, and summary of all aspects of folk music. For example: "Research on Opera Music" by Xia Ye, "National Instrumental Music" by Yuan Jingfang. There is no detailed and in-depth study from a very small aspect.

4. The value of collecting styles lies in the combination of diachronic research and temporal research. It is of great value to music history and ethnomusicology research.

5. In the process of collecting music, the scope, purpose and methods of collecting have changed. In particular, the collection method "has shifted from focusing on the 'music sound' itself to gradually realizing some of the things related to the 'music sound'." The importance of the humanities has also appeared in some scholars, and there has been a tendency to combine it with anthropology. "From this time on, scholars have paid attention to the cultural background. It embodies the disciplinary characteristics of combining ethnology and anthropology, which is an important aspect of the development of ethnomusicology.

There are two main categories, one is the translation and publication of monographs, and the other is the "translated collection" of excerpts compiled by the compiler. Regarding the content, there are many compilations of methodologies and very few compilations of specific studies. What is more important is to introduce ethnomusicology to China, introduce this subject and how to conduct research on this subject. There are few translations of articles and works that use this theory to conduct specific research on music.

The methodology of a discipline is an important link in promoting the development of the discipline. The importance of research method is that it is the prerequisite direction of research. This is something that every scholar should pay attention to, and should summarize his own research methods from practice based on his own specific research, and should not talk about methods in vain without combining them with reality. Only when theory is combined with practice can it be viable and persuasive. Research methods cannot be static. They must be continuously followed up and improved. As the subject continues to develop and progress, it is necessary to absorb the theories of others, new and cutting-edge subjects.

Ethnomusic scholars must "stand firm" and not only master methods to conduct research, but also conduct on-the-spot investigations and accumulate ethnic music. Compilation of "Ethnomusicography". It is recommended to complete the journal directly based on the field investigations you have engaged in. The information obtained in this way is very precious.

The study of cultural geographical divisions means that scholars have studied music according to the division of cultural regions and studied music from a cultural perspective.

There are two problems in the study of the nature of cultural history: First, in the research practice, try to combine diachronic data with temporal data to reconstruct the history of Chinese music. 2. Ethnomusicologists use the investigation and research of existing music materials as the basis, refer to literature, cultural relics and other materials to explore the blood relationship, development and historical changes of music.

Cross-cultural comparative research is the research field of comparative musicology. In the late 1970s, comparative musicology, which Wang Guangqi focused on, 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 and progress of society, the development of high technology has also promoted the research of ethnomusicology. For a special discipline like ethnomusicology, it also needs the assistance of modern technology. There are four aspects of application.

The teaching of ethnomusicology and applied ethnomusicology. A large number of courses related to ethnic music are offered in schools, which is also an important part of the development of this field. Extensively carry out the study of ethnic music. Forming Applied Ethnomusicology. The development of a subject must go towards education.

It can be said that the development of ethnomusicology in China has just begun, and it will take a certain development process to mature. As the understanding of ethnomusicology gradually deepens, its research objects, research methods, and research purposes will change at different stages. As a special period for the development of national music in China - the "folk music theory research" period is a stage that cannot be ignored. Without the research of this period, my country's ethnomusicology would certainly not have developed to the current stage. It's a good foreshadowing. In this way, ethnomusicology can develop so rapidly in China and be accepted quickly.

The development of ethnomusicology must be towards a broader research direction. Its diversity and interdisciplinarity place high demands on ethnomusicologists. It is necessary not only to master the research methods of this discipline, but also to master the methods of other disciplines.