[Ji Mingming] Research on the protection and development of my country's musical intangible cultural heritage from the perspective of cultural industry

Abstract: Musical intangible cultural heritage is an important carrier of the spirit of China.

Our country is rich in musical intangible cultural resources.

Its inheritance and protection should be guided by productive protection and adhere to the principles of sustainable development, resource integration, and creative development.

Select the performing arts industry and handicrafts industry as the strategic focus to build a folk museum, cultural festivals, performing arts development, and physical product protection and development model.

Key words: music; intangible cultural heritage; industrial development; heritage protection

General Secretary Xi Jinping pointed out at the 2014 Forum on Literature and Art Work: "Since ancient times, the reason why the Chinese nation has status and influence in the world is not by militarism, not by external expansion, but by the strong appeal and attraction of Chinese culture...

explaining the endowment of the Chinese nation, the characteristics of the Chinese nation and the spirit of the Chinese nation, convincing others with morality and educating people is one of the most important aspects." The general secretary's speech will be implemented in China's intangible cultural heritage heritage inheritance protection, the author has important enlightenment: first, the core strength of the survival and development of the country and the nation is culture; second, the general secretary said that "the status of the Chinese nation in the world", which inspires us to look at China's intangible cultural heritage research from a global and international perspective; third, the industrial development of intangible cultural heritage should reflect the spirit of the Chinese nation.

1.

The existence of my country's musical intangible cultural heritage resources

In February 2011, the 19th meeting of the Standing Committee of the 11th National People's Congress of the People's Republic of China adopted the "Intangible Cultural Heritage Law of the People's Republic of China"(hereinafter referred to as the "Intangible Cultural Heritage Law ").

Article 2 of the" Intangible Cultural Heritage Law "clarified the concept of intangible cultural heritage.

Intangible cultural heritage is divided into "forms of expression" and "cultural spaces", which mainly include traditional oral literature and the language as its carrier, traditional art, calligraphy, music, dance, drama, folk art and acrobatics, traditional skills, medicine and calendar, traditional etiquette, festivals and other folk customs, traditional sports and entertainment, and other intangible cultural heritage.

The author takes traditional music as the research object, which mainly includes folk music, literati music, court music, and religious and sacrificial music.

The Chinese nation has a long history.

From the ancient Xia, Shang and Zhou Dynasties, our ancestors created music that was rooted in the hearts of the people in production, labor and social life, reflected the temperament and spirit of the Chinese nation, and had the characteristics of national music.

The development of traditional music in my country has an extremely ancient historical origin, which can be traced back to the original music and dance of ancient clan society.

There is a folk legend in "The Book of Mountains and Seas":"Emperor Jun had eight sons, who began to sing and dance";"Shang Shu" records that people "hit stones and beat stones, and hundreds of beasts led the dance";"Lu's Spring and Autumn Annals" records: "In the past, Ge Tian's music, the three people held ox-tails and sang eight songs with their movements." It can be seen that in the primitive clan society, my country's music and art have already emerged.

The Book of Songs is the first collection of poems in my country.

The "wind" in it is the essence of the Book of Songs and an important documentary material for recording the folk songs of the Pre-Qin Dynasty.

There were records of northern folk music during the Three Kingdoms, Two Jin and Southern Dynasties.

With the development of society, various music genres are also constantly developing and evolving.

By the Yuan and Ming Dynasties, popular music, opera, and folk art absorbed and influenced each other, and both content and form were further improved.

The ancestors created history and developed the economy through hard work, and also created colorful music and art.

At present, my country has promulgated 4 batches, with a total of 170 national-level music intangible cultural heritage projects, as shown in Table 1.

Table 1 Statistics on national music intangible cultural heritage projects

Note: Individual projects overlap in regional distribution

2.

The current status of inheritance of musical intangible cultural heritage in my country

1) Unbalanced ecological environment

In addition to a certain social and cultural environment, the survival of traditional music must also be supported by a certain scale of consumer groups.

Nowadays, the pace of people's lives is getting faster and faster, the pressure of life is increasing, and the public's aesthetic tastes are becoming more simple, direct and popular.

Traditional music born in the context of farming culture is rooted in the ancient social soil.

It has deep and profound meaning and beauty, and requires the audience to carefully taste it.

This is obviously quite different from the aesthetic trend of the current audience.

On the one hand, the diversification of modern cultural and entertainment consumption methods in the new era has given the audience more abundant leisure methods, and entertainment choices are more popular and modern; On the other hand, except for professional actors, most traditional music practitioners have low cultural cultivation and artistic heritage, and their ability to accept new knowledge and learn new skills is not strong.

It is difficult to achieve a high level in music performance forms and artistic standards.

Innovation, which has created an embarrassing situation where traditional music is not enough to enjoy and entertain at this stage, and the development of musical intangible cultural heritage resources is difficult.

2) Lack of effective integration

my country is rich in intangible cultural heritage music resources, but it fights independently in the development of the cultural industry.

Traditional music resources lack overall planning and effective integration at the regional and industrial levels, and there are few literary and artistic brands and leading products.

There are two types of problems in industrial development.

On the one hand, they fail to realize the importance of traditional music resources and turn a blind eye to the important intangible cultural heritage around them, resulting in idle and waste of resources; on the other hand, they only proceed from their own interests.

Lack of communication and cooperation between regions, and destructive and predatory development of resources, or even vicious competition for immediate economic benefits.

At the level of industrialization development, insufficient attention has been paid to the hierarchy, penetration and richness of traditional music and cultural products.

Due to the limitations of performance venues and performance costs, many traditional music masterpieces built with huge sums of money cannot benefit the grassroots people.

The government organizes activities such as "cultural going to the countryside" every year, but a considerable number of people are no longer satisfied with enjoying entertainment such as stage and television.

They urgently need to communicate directly with artists to communicate with their souls, improve their quality, please the body and mind, and cultivate their sentiments.

3) Inheritors are difficult to find, and there is a shortage of leading and compound literary and artistic talents

Fully integrating original traditional music resources and industrially developing and utilizing them requires a group of compound and leading literary and artistic talents.

The cultural field lacks a group of leading figures and cultural masters who can lead and drive the entire art category.

They are particularly prominent in traditional music.

They are cultural industry talents who are good at management, understand technology, and can manage, especially those who can integrate industrial capital and intangible cultural heritage music.

There is a lack of entrepreneurs with resources, making it difficult to adapt to the development needs of the cultural industry.

At the same time, due to institutional reasons, literary and artistic talents cannot be retained or attracted, and surplus personnel cannot be pushed out.

The burden is getting heavier and heavier, forming a vicious cycle; the traditional music performance team is aging, and there are few young and middle-aged talents, which is not conducive to the continuous development of musical intangible cultural heritage resources.

4) Lack of funds and difficulties in development and innovation

The development of cultural industries is inseparable from the guarantee of investment.

Strong financial support is an important foundation for the existence of any kind of art, and the industrial development of music intangible cultural heritage resources is no exception.

The creation, performance, and talent training and exchange require certain financial support.

Due to the shortage of funds, the performance venues, costumes, props, stage beauty, sound, lighting, accompaniment instruments, etc.

cannot be replaced normally, which affects the performance effect and program quality.

3.

The industrial development path of my country's music intangible cultural heritage resources

1) Build an industrial development model for sustainable development

Sustainable development has two meanings: the industrial development of traditional music should adhere to equal emphasis on protection and development, and industrial development and ecological protection should develop in a coordinated manner and complement each other's advantages.

At present, the cultural industry is a well-deserved sunrise industry and green industry.

The world has set off a new wave of cultural industry development.

In such an environment, we must maintain a clear mind and clear ideas for industrial development.

The industrial development of traditional music resources should follow cultural development and economic laws.

First, summarize and study the historical origin, development context, and inheritance and distribution methods of traditional music; then, make scientific overall plans and adopt economic and scientific methods to analyze, summarize, and classify; finally, we will batch and divide the existing traditional music resources in batches, stages, and regions, and develop them scientifically in a hierarchical and targeted manner.

The development of traditional music resources should be based on sustainable utilization to create a healthy, stable and balanced environment for industrial development.

In the industrial development that pays equal attention to protection and development, those precious traditional music resources that are suitable for market-oriented operation must realize self-transformation and infinite extension of value, derive different forms of things, and evolve into more connotative goods or collectibles.

2) Establish a scientific and reasonable protection and inheritance model

The inheritance of traditional music is not only about acquiring skills through passing on, but the deeper inheritance should also be the innovation and application of traditional music, that is, based on the skills taught by previous artists, innovation is made, so that traditional music can be used in modern times.

There is some gain in the context of fast pace and high-tech.

Traditional music performers are important carriers and transmitters of intangible cultural heritage resources.

They are living museums, huge resources for the development of the traditional music industry, and key figures in the industrialization of traditional music.

First of all, increase the training and introduction of leading figures in traditional music.

The prosperity of the traditional music and art market not only requires successors to improve their skills, but also requires high-end talents who are familiar with artistic creation, understand market operations, understand the cultural psychology and cultural needs of the public, and can manage, understand innovation, and focus on research.

The traditional music industry can completely break down regional and administrative restrictions, jointly establish music research bases and related performance disciplines with universities and scientific research institutes, and closely combine native traditional music inheritors with experts with certain theoretical heights.

On the one hand, we should systematically research, classify and explore musical intangible cultural heritage resources; on the other hand, we should cultivate compound talents who understand professional basic theories and are experts in the field of performing arts, and we can even consider joining forces with private commercial organizations., absorb social funds to set up special scholarships to combine traditional music with the market and truly transform it into productivity.

Secondly, financial aid and relevant policy guarantees will be provided to traditional music performers and inheritors.

Performers and inheritors, on the one hand, need tangible financial support and guarantee; on the other hand, they also need some ecological and environmental support.

The treatment of traditional music performers and inheritors can actually be divided into two types: "virtual" and "real".

The so-called "virtual" mainly refers to spiritual treatment.

For example, the social reputation of the profession can be divided into professional titles for practitioners based on actual conditions.

Once their skills are recognized by society, the value of their works will increase sharply, and they will also gain More economic returns to realize self-worth; The so-called "real" mainly refers to material benefits, such as wages, benefits, etc., and the proportion of various benefits will be changed accordingly to give higher treatment to traditional music practitioners and attract talents to join the industry.

Finally, establish a modern archive for traditional music performers and inheritors.

The industrialization development of traditional music requires a detailed, convenient and readily accessible database.

Therefore, the census and identification of performers and inheritors of traditional music is the basis and important prerequisite for database construction.

The survey of performers and inheritors is not limited to their artistic characteristics and inheritance methods, but should also be combined with on-site research and use multimedia recording methods such as text, score examples, audio, audio-visual, etc.

to achieve systematization, scientific, and dataization of data.

When possible, some basic and exploratory work can also be done on the inheritance route and inheritance pedigree.

Not only focus on original traditional plays, but also carry out some innovative inheritance and industrial development of these plays in the context of modern high-tech.

3) Establish a diversified and orderly research model

In addition to the theoretical discussion and practice of traditional music artists, the research platform of colleges and universities is indispensable.

According to Richard Florida, universities are key institutions in the creative economy.

They not only play a role in cutting-edge scientific research, but are also magnets for attracting talent.

They can create a progressive, open, and inclusive cultural environment that attracts and retains creative members.

Universities provide knowledge support and talent guarantee for the prosperity of the cultural and artistic industries, continuously deliver productivity to the cultural market, and edify and cultivate audiences through the construction of a humanistic atmosphere.

At present, the discipline construction of cultural industry in colleges and universities is still in a marginal position.

The discipline structure is not sound, there is a lack of clear discipline ownership and positioning, and the integrity of the knowledge system and curriculum system is relatively lacking.

Talent training is divorced from actual needs to a certain extent, making it difficult to become a training.

The cradle of high-end creative talents and cultural management talents.

Teaching, scientific research and other activities in music majors in colleges and universities should participate in the census, excavation, research and integration of musical intangible cultural heritage resources, and make use of the comprehensive scientific research advantages of colleges and universities to trace the origin of musical intangible cultural heritage resources, and systematically evaluate the regional cultural characteristics, artistic value, and folk value of musical intangible cultural heritage resources.

On this basis, scientific classification and further innovative research and development should be carried out.

At the same time, we should clarify the training goals of talents in the cultural industry, accurately position the discipline and professional advancement of the music culture industry, strengthen the faculty, improve the curriculum system, strengthen the cross-integration of economic, management, technology, and humanities disciplines, and combine theoretical teaching with professional practice.

Combine practice to cultivate compound talents with professional knowledge of music culture and industrial economy.

4) Create a unique brand model

Traditional music is a profound business card of China culture.

It originates from the people and is rooted in the people.

It is rich in deep cultural value and unique artistic thinking concepts.

It is unique and unique in traditional art.

It reflects the mass production methods, living customs, and cultural connotations.

One of the most representative carriers.

1.

See Figure 1)

Figure 1 Functional positioning of music intangible cultural heritage museums for establishing a music intangible cultural heritage museum

Our country's musical intangible cultural heritage has a large stock and many varieties.

It is closely connected to folk customs and customs.

It has historical and aesthetic value and is one of the carriers of people's social life, aesthetic tastes and customs.

Museums are important carriers for collecting, collecting, researching and displaying traditional music, and are also catalysts for the development of regional cultural industries.

The Kunqu Opera Museum in Kunshan, Jiangsu, and the Cantonese Opera Museum in Foshan, Guangdong are already at the forefront and have accumulated many successful experiences.

Traditional music is obviously perishable and latent.

Museums can preserve and display the origin, characteristics, performance forms and even future development trends of traditional music through various texts, maps, audio-visual materials and high-tech electronic means.

The audience is in it, appreciates the artistic charm of traditional music, likes, gets close to and has a strong desire to watch stage performances.

Museums should also incorporate modern factors to not only reflect the original historical appearance, but also make people feel bright and fresh.

2.

Create an industry chain of music intangible cultural heritage performing arts products.

See Figure 2)

Figure 2 Industry chain of music intangible cultural heritage performing arts products.

The performing art in traditional music carries the cultural essence of the Chinese nation, is an important carrier of national culture, and an important artistic resource for cultivating performing arts brands.

Create an industry chain of musical intangible cultural heritage performing arts products, use these artistic performance elements as content materials, and carry out performance packaging development, forming an example of the successful combination of traditional music and cultural industries.

Representative ones include "Shaolin in the Wind","Impression·Sister Liu","Impression of Yunnan","Lishui Jinsha", etc.

3.

Develop music intangible cultural heritage art products

Reproduction of art products.

Performance props are closely related to the character.

From a dramatic perspective, they are personalized; from an artistic perspective, they are patterned.Industrialized development of performance props and made into tourist souvenirs has huge market potential.

For example, Peking Opera masks, dates, horse whips, swords, folding fans, feathers, etc.

will be loved by the masses and expand the market influence of traditional music to a certain extent.

Audio-visual products.

Traditional music audio-visual products are also very popular among drama fans.

They are characterized by being easy to carry, easy to store, and can be viewed repeatedly.

Reproduction of traditional music through audio-visual products will convey the music and dance, historical traditions, cultural customs, regional customs, etc.

of the Chinese nation, giving listeners a broader imagination space and a deeper connotation experience.

4.

Conclusion

The history, culture and unique folk customs of the Chinese nation have nurtured the unique, original and irreplaceable traditional music, making it the cultural capital with the most development potential.

In the context of modern social transformation, the survival and development of traditional music are facing unprecedented challenges.

Under this situation, a comprehensive and systematic survey of music intangible cultural heritage resources should be conducted to explore their cultural connotation and industrialization value, find protection, inheritance and industrialization paths, and use the cultural tension of traditional music itself to realize the historical inheritance and industrialization development of traditional music.

(This article was published in "Journal of Yangtze University Social Science Edition", No.

4,2019.

The annotations are omitted, and see the original issue for details)