<?xml version='1.0' encoding='utf-8'?>
<!DOCTYPE article PUBLIC "-//NLM//DTD JATS (Z39.96) Journal Publishing DTD v1.2 20190208//EN" "http://jats.nlm.nih.gov/publishing/1.2/JATS-journalpublishing1.dtd">
<article article-type="research-article" dtd-version="1.2" xml:lang="ru" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink"><front><journal-meta><journal-id journal-id-type="issn">2408-932X</journal-id><journal-title-group><journal-title>Research Result. Social Studies and Humanities</journal-title></journal-title-group><issn pub-type="epub">2408-932X</issn></journal-meta><article-meta><article-id pub-id-type="doi">10.18413/2408-932X-2024-10-1-1-1</article-id><article-id pub-id-type="publisher-id">3398</article-id><article-categories><subj-group subj-group-type="heading"><subject>MISCCELLANEOUS: MESSAGES, DISCUSSIONS, REVIEWS</subject></subj-group></article-categories><title-group><article-title>&lt;strong&gt;Transformation of traditional Chinese music under the influence of Western music in the Qing Dynasty&lt;/strong&gt;</article-title><trans-title-group xml:lang="en"><trans-title>&lt;strong&gt;Transformation of traditional Chinese music under the influence of Western music in the Qing Dynasty&lt;/strong&gt;</trans-title></trans-title-group></title-group><contrib-group><contrib contrib-type="author"><name-alternatives><name xml:lang="ru"><surname>Feng</surname><given-names>Yinghong</given-names></name><name xml:lang="en"><surname>Feng</surname><given-names>Yinghong</given-names></name></name-alternatives><email>yinghongfeng@yandex.ru</email><xref ref-type="aff" rid="aff1" /></contrib><contrib contrib-type="author"><name-alternatives><name xml:lang="ru"><surname>Nifontova</surname><given-names>Olga I.</given-names></name><name xml:lang="en"><surname>Nifontova</surname><given-names>Olga I.</given-names></name></name-alternatives><email>nifontova_o@bsu.edu.ru</email><xref ref-type="aff" rid="aff1" /></contrib></contrib-group><aff id="aff1"><institution>Belgorod State National Research University</institution></aff><pub-date pub-type="epub"><year>2024</year></pub-date><volume>10</volume><issue>1</issue><fpage>0</fpage><lpage>0</lpage><self-uri content-type="pdf" xlink:href="/media/humanities/2024/1/Социогум_исследования_2024_Т.10_1-11.pdf" /><abstract xml:lang="ru"><p>The relevance of this article is justified by understanding the theory of modernization of modern Chinese music, which is initially focused on the preservation of traditional cultural values. Discussing the emergence of the &amp;quot;New Music&amp;quot; of China, theorists turn to the process of transformation of traditional Chinese ritual music under the influence of Western music of the Romantic era during the reign of the Qing Dynasty. Although the positions of modern scientists on this issue may differ in some points, they agree on one thing&amp;nbsp;&amp;ndash; the musical transformation in Chinese music became possible as a result of the Opium War, which opened China&amp;#39;s borders to Western cultural influences. How can we determine the meaning of this transformation? The use of comparative analysis made it possible to compare the musical genres of China before and after the Opium War. This comparison led to the conclusion that under the influence of Western music, traditional Chinese musical forms began to express real, rather than etiquette feelings, emotions and experiences of people. At the same time, folk music, recitative, opera and instrumental music have received the greatest development.</p></abstract><trans-abstract xml:lang="en"><p>The relevance of this article is justified by understanding the theory of modernization of modern Chinese music, which is initially focused on the preservation of traditional cultural values. Discussing the emergence of the &amp;quot;New Music&amp;quot; of China, theorists turn to the process of transformation of traditional Chinese ritual music under the influence of Western music of the Romantic era during the reign of the Qing Dynasty. Although the positions of modern scientists on this issue may differ in some points, they agree on one thing&amp;nbsp;&amp;ndash; the musical transformation in Chinese music became possible as a result of the Opium War, which opened China&amp;#39;s borders to Western cultural influences. How can we determine the meaning of this transformation? The use of comparative analysis made it possible to compare the musical genres of China before and after the Opium War. This comparison led to the conclusion that under the influence of Western music, traditional Chinese musical forms began to express real, rather than etiquette feelings, emotions and experiences of people. At the same time, folk music, recitative, opera and instrumental music have received the greatest development.</p></trans-abstract><kwd-group xml:lang="ru"><kwd>late Qing dynasty</kwd><kwd>musical tradition</kwd><kwd>Western music</kwd><kwd>mixture of styles</kwd><kwd>musical aesthetics</kwd></kwd-group><kwd-group xml:lang="en"><kwd>late Qing dynasty</kwd><kwd>musical tradition</kwd><kwd>Western music</kwd><kwd>mixture of styles</kwd><kwd>musical aesthetics</kwd></kwd-group></article-meta></front><back><ref-list><title>Список литературы</title><ref id="B1"><mixed-citation>Chen, Jie (2015), &amp;ldquo;Comparative study between Chinese and western music aesthetics and culture&amp;rdquo;, International Conference on Social Science and Technology Education (ICSSTE 2015), 117-119, DOI:10.2991/icsste-15.2015.35</mixed-citation></ref><ref id="B2"><mixed-citation>Fan,&amp;nbsp;B. (2015), &amp;ldquo;Stylistic aspects of the adaptation of the national instrumental tradition in the piano music of modern Chinese composers&amp;rdquo;, National Academy of Managerial Staff of Culture and Arts Herald, 1, 118-123 (in Russ.).</mixed-citation></ref><ref id="B3"><mixed-citation>Fan Lele (2010), &amp;ldquo;Review of Hanslick&amp;#39;s Musical Aesthetics&amp;rdquo;, Shanghai Literature and Art Publishing House, 7, 54-55 (in Chinese).</mixed-citation></ref><ref id="B4"><mixed-citation>Fubini,&amp;nbsp;E. (1990), History of music aesthetics, Macmillan, London, UK.</mixed-citation></ref><ref id="B5"><mixed-citation>Gong Hongyu (2020), &amp;ldquo;Missionaries and Chinese and Western Music Exchanges in the Late Qing Dynasty&amp;rdquo;, Journal of Wuhan Conservatory of Music, 1, 123-125 (in Chinese).</mixed-citation></ref><ref id="B6"><mixed-citation>Gudimova,&amp;nbsp;S.&amp;nbsp;A. (2017), &amp;ldquo;Fundamentals of Ancient Chinese Aesthetics&amp;rdquo;, Herald of Culturology, 2, 57-73 (in Russ.).</mixed-citation></ref><ref id="B7"><mixed-citation>Gun,&amp;nbsp;I. (2023), &amp;ldquo;Historical aspects of the development of Chinese vocal music&amp;rdquo;, Uralsky nauchny vestnik, 9&amp;nbsp;(2), 248-258 (in Russ.).</mixed-citation></ref><ref id="B8"><mixed-citation>Li Li (2008), &amp;ldquo;The influence of the Enlightenment on European music&amp;rdquo;, Journal of Hebei Normal University, 2, 22-29, China (in Chinese).</mixed-citation></ref><ref id="B9"><mixed-citation>Shen Lian Kang (2021), &amp;ldquo;From the history of traditional Chinese vocal chamber music&amp;rdquo;, Meždunarodnyj naučno-issledovatel&amp;#39;skij žurnal (International Research Journal), 12-5, 114-118 (in Russ.).</mixed-citation></ref><ref id="B10"><mixed-citation>Song Jin (2008), Music Aesthetics Foundation, Shanghai Music Publishing House, Shanghai, China (in Chinese).</mixed-citation></ref><ref id="B11"><mixed-citation>Sun,&amp;nbsp;Ch. (2023), &amp;ldquo;A brief analysis of the aesthetic influence of religious belief on the creation and performance of vocal music during the Chinese Renaissance&amp;rdquo;, Voprosy Istorii, 6-2, 190-193 (in English).</mixed-citation></ref><ref id="B12"><mixed-citation>Sun,&amp;nbsp;X. (2023), &amp;ldquo;Research on the evolution and development of the singing style of China national vocal music&amp;rdquo;, Voprosy Istorii, 5-1, 212-221 (in English).</mixed-citation></ref><ref id="B13"><mixed-citation>Wang Jia (2003), On etiquette and benevolence in Confucian musical aesthetics. Shanghai Music Publishing House, China. (in Chinese).</mixed-citation></ref><ref id="B14"><mixed-citation>Wang Kaikun (2019), Studying Western Music Aesthetics from a Historical Dimension, Nanjing National University, China (in Chinese).</mixed-citation></ref><ref id="B15"><mixed-citation>Wang Yuhe (2009), History of Modern Chinese Music. Beijing People&amp;#39;s Publishing House, Beijing, China (in Chinese).</mixed-citation></ref><ref id="B16"><mixed-citation>Wang Yunqiu (2009), &amp;ldquo;Analysis of Cultural Reform and Development in the Late Qing Dynasty&amp;rdquo;, Social Sciences, 3, 72-86. (in Chinese).</mixed-citation></ref><ref id="B17"><mixed-citation>Wu Zhao (1993), A brief history of music, People&amp;#39;s Music Publishing House, Beijing, China (in Chinese).</mixed-citation></ref><ref id="B18"><mixed-citation>Xing Weikai (2004), The Aesthetic History of Emotional Art: Emotional Aesthetics in the History of Western Music Thought, Shanghai Music Publishing House, Shanghai, China (in Chinese).</mixed-citation></ref><ref id="B19"><mixed-citation>Yu Runyang (2005), Selections of Musical Aesthetics, Central Conservatory of Music Press, Beijing, China (in Chinese).</mixed-citation></ref><ref id="B20"><mixed-citation>Yu Runyang (2000), Introduction to Modern Western Music Philosophy, Translated, Hunan Music Publishing House, Hunan, China (in Chinese).</mixed-citation></ref><ref id="B21"><mixed-citation>Yuan Jin (2006), &amp;ldquo;Western music in the first half of the twentieth century from the perspective of expressionism and neoclassicism&amp;rdquo;, Entrepreneur World, 152-153 (in Chinese).</mixed-citation></ref><ref id="B22"><mixed-citation>Zhang Geng (1983), Encyclopedia of China-Drama Volume, China People&amp;#39;s Publishing House, Beijing, China (in Chinese).</mixed-citation></ref><ref id="B23"><mixed-citation>Zhang Dan (2004), &amp;ldquo;On the Musical Aesthetic Thoughts of the Romantic Period in the 19th Century&amp;rdquo;, Journal of Mudanjiang Normal University. 3, 32-38 (in Chinese).</mixed-citation></ref><ref id="B24"><mixed-citation>Zhao Yuanren (1987), Collection of musical works, Shanghai Music Publishing House, Shanghai, China (in Chinese).</mixed-citation></ref><ref id="B25"><mixed-citation>Zofia,&amp;nbsp;L. (1980), On the Characteristics of Music, Shanghai Literature and Art Publishing House, Shanghai, China (in Chinese).</mixed-citation></ref><ref id="B26"><mixed-citation>&amp;nbsp;</mixed-citation></ref></ref-list></back></article>