A Comparative Study of Folk Music Education in Italy and China under the Background of Globalization — Inspired by Giorgio Nataletti's Philosophy
Journal: Arts Studies and Criticism DOI: 10.32629/asc.v6i4.4336
Abstract
Against the backdrop of globalization and increasing international cultural exchange, Chinese folk music education faces significant opportunities and challenges. This paper examines folk music education in Italy and China. Through a comparative analysis of the concepts, inheritance mechanisms, and practical approaches of folk music education in these two countries, drawing on the educational philosophy of Giorgio Nataleti, a pioneer in Italian folk music education, this paper explores the developmental characteristics of folk music education within these different cultural contexts. The study finds that despite differences in historical traditions and educational systems, both China and Italy demonstrate a trend of integration and innovation in responding to the impact of globalization and promoting the sustainable development of folk music. Through this comparative perspective, the paper provides theoretical support and practical references for the localization and internationalization of Chinese folk music education, offering valuable insights for the development of Chinese music education.
Keywords
globalization, Italy, folk music, Chinese music education, cultural heritage
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[3]Morelli, M. (2009). Il suono e la memoria: L'Archivio di Etnomusicologia della RAI. Roma: Squilibri Editore.
[4]Bithell, C., & Hill, J. (2014). The Oxford Handbook of Music Revival. Oxford University Press.
[5]Zhu, W. B. (2015). Dialogue between tradition and modernity: New pathways in ethnic music education. Music Research, (2), 33–37.
[6]Tian, Q. (2018). Living Inheritance and Educational Practice of Chinese Ethnic Music. Beijing: Culture and Art Publishing House.
[7]Liu, H. (2012). Fieldwork and Educational Transformation of Chinese Ethnic Music. Beijing: China Federation of Literary and Art Circles Publishing House.
[8]Xinhua News Agency. (2019). Dong Grand Songs Enter Classrooms: Integration of Tradition and Education. [Online news article].
[9]Wang, L. (2020). The role of fieldwork in contemporary ethnomusicology: Italian approaches and implications. Music and Anthropology, 25. Retrieved from: https://www.maajournal.com/index.php/maa/article/view/1721
[10]Du, X., & Leung, B. W. (2021). Culturally Responsive Music Education in Ethnic Minority Areas in Southwest China: A Case Study of Miao Traditional Music. International Journal of Music Education, 39(3), 289–302. https://doi.org/10.1177/0255761421997391
[11]Guan, Y., Luo, J., & Matsunobu, K. (2022). Digitizing Intangible Cultural Heritage: A Case Study of Traditional Music Archiving in Southwest China. Ethnomusicology Forum, 31(2), 205–223. https://doi.org/10.1080/17411912.2022.2054809
[12]Tang, L., & Zeng, H. (2024). Bridging Community and Education: Collaborative Models of Ethnic Music Transmission in Hunan. Chinese Music Education Research Journal, 12(1), 55–69.
[13]Wang, Z., Li, X., & Yang, Q. (2022). Ethnographic Film in Music Pedagogy: Teaching Nuosu Musical Heritage in Chinese Secondary Schools. Asia-Pacific Journal for Arts Education, 21(1), 31–48.
[14]Mo, H. (2025). The Local and the Global in Music Curriculum: A Case Study of Wenzhou University. Music Education Frontiers, 8(1), 18–33.
[15]Vitali, F. (1982). Giorgio Nataletti and the sound archives of the Accademia Nazionale di Santa Cecilia. Italian Journal of Ethnomusicology, 4(1), 15–27.
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