Folk Song as a moral potential of personality in Chinese music Education

Mikhailova Ol'ga Borisovna ORCID: 0000-0001-5046-1452 PhD in Pedagogy Associate Professor; Department of Psychology and Pedagogy; P. Lumumba Peoples' Friendship University of Russia (RUDN University) 10 Miklukho-Maklaya str., Moscow, 117198, Russia olga00241@yandex.ru

Lin' Jiawan Postgraduate student; Department of Psychology and Pedagogy; P. Lumumba Peoples' Friendship University of Russia (RUDN University) 10 Miklukho-Maklaya str., Moscow, 117198, Russia 1042228069@rudn.ru

Introduction

Folk song is an important historical value of an ethnic group, a source of transmission of spiritual and moral foundations from generation to generation. Currently, it is important for the development of digital technologies to study, preserve and introduce national folk art into the educational system of the younger generation of the 21st century. The organization of educational work largely depends on the proper use of the educational material of a particular subject. In music education, this depends on the use of national traditions, including those sung in folk songs.

If we consider a folk song as the cultural code of a nation, then, undoubtedly, this code has a huge educational potential. The very concept of "potential" in Russian has many meanings. First of all, "potential" is considered as an available opportunity, the prospect of using something. In the pedagogy of recent years, the educational potential has been considered by a number of authors: I. V. Gerlakh, I. A. Dyakov, M. V. Shakurova, K. A. Kozelskaya, G. I. Beloshapka, G. V. Derbeneva, M. L. Tarasenko, M. A. Plyusnina, A. N. Teslenko, E. A. Dmitrienko, A. S. Bogdantsev and others.

An appeal to the concept of "educational potential" in Russian pedagogical research is contained in the study by A. N. Teslenko and E. A. Dmitrienko, in which the authors consider educational potential in an interconnected system of concepts.: "potential — social potential — culture — spiritual potential — educational potential" ^{[1, p. 120]}.

I.A. Dyakov defines educational potential as a socio-psychological factor contributing to the personal development of a person and the creation and functioning of an educational system, as well as the formation of conditions for relationships between participants in the educational process ^[2].

According to Bogdantsev A.S., the educational potential of Russian pedagogy in recent decades is based on: 1) the traditions of folk pedagogy, 2) the system and continuity of the educational process at all levels of education, 3) the technology of using the means and methods of education in the didactic process of the discipline; 4) the pedagogical style of the teacher using certain methods of the educational process ^[3].

The central category of educational potential is moral education. The system of moral education, in turn, forms the moral potential of a person based on principles and beliefs, values and traditions embedded in the code of the cultural environment in which a child is raised and perceives information through the language of music, song, dance, and oral folk art ^[4].

The importance of music education in the formation of a person's moral potential is considered by modern authors as the leading goal of the subject "Music" in Russian general education schools ^[5]. Umerkaeva S.Sh., Buyanova N.B., Nikitina E.N. believe that universal human values and ideals, which form the spiritual and moral basis of personality, were more actively used in ancient cultures of people who lived surrounded by nature and a natural environment of communication than in modern parenting practice. Therefore, a number of authors of modern research believe that familiarization with the heritage of folk culture can help in the formation of spiritual and moral values of a growing personality ^[6]. V. G. Vauba argues that the role of musical art in moral education is great, since music most fully and vividly embodies an emotional and value attitude to reality, and this stimulates emotional activity of a person, thereby not allowing him to remain indifferent to the ethical problems inherent in specific musical images ^[7].

It should be noted that the role of folk music and folk songs in the formation and development of moral potential in modern education is noted by Russian and foreign authors (U.M. Mishaev, D.A. Mishaeva, T. A.Kozova, L.P.Karpushina, Liu Jie) ^[8;9;10]. Modern researchers emphasize that folk songs should not only awaken the creative abilities of a child, but also contribute to the assimilation of moral norms, develop moral attitudes regarding communication and human interaction, since through folklore children learn important universal values ^[11;12;13].

Thus, the methodology of this work is the use of such methods as the analysis of scientific sources by Chinese and Russian researchers, the study of practical experience of music education in China, the generalization of data and their systematization, the description of conclusions and prospects for further research.

The purpose of this article is to analyze the historical foundations and modern trends in the use of folk songs as a moral potential of the individual in the educational system of China for further implementation of the experience of using folk songs in the educational process in Russia as a means of developing the moral potential of the individual.

In this study, a folk song acts as an object that allows us to consider the possibilities of using historical heritage in the formation and development of a person's moral potential. The subject of the study is the characteristics of the moral potential of folk song, which is included in the educational process at all levels of education in China.

The novelty of this study lies in introducing the reader to the music education system in China and the possibility of using Chinese folk songs at all levels of this system. The novelty of the article's content is determined by the following tasks set by the authors: 1) to consider the genre originality of Chinese folk songs and give a detailed description of their educational and moral potential; 2) to analyze the content of Chinese folk songs that are successfully used as didactic material in modern pedagogical practice of school education in China; 3) to identify prospects for further research on the use of Chinese folk songs in the practice of the educational process, including and in Russia.

The role of folk song in shaping the moral potential of school students in China

The strategy of implementing moral education in China has a lot in common with the strategies of education in Russia. In China, as in Russia, moral education is a priority area of the educational process ^[14].

Cao Li in his monograph "Music pedagogy in general education schools" believes that music education is one of the components of the spiritual construction of civilization, it interacts with moral education and contributes to its development ^[15].

Qi Yi and Zhang Wenchuan in the monographic study "Music and Art Education" argue that music and art education performs the function of supporting morality. They also explained that the auxiliary function of music education implies the positive impact of music education on the education of human morality. On the one hand, these researchers believe that music education can transform aesthetic feelings into moral ones and bring moral feelings to life. On the other hand, the function of music education in moral education is carried out not through argumentation and coercion, but through the emotional impact of music ^[16].

Moral education in the process of music teaching is one of the priorities of modern school education in China. Guo Yulu believes that the use of Chinese folk songs in Chinese music education has its own characteristics. Firstly, through Chinese folk songs, young people can get to know the traditions of the Chinese people. Secondly, the use of Chinese folk songs motivates young people to form moral behavior ^[17].

Historically, music education in China was integrated into all levels of education in the 18th and 19th centuries. During this period, China was experiencing a serious crisis in the field of education, and it was necessary to introduce innovations that had not yet been developed. Therefore, the Chinese government was forced to turn to Western European experience in the field of education. Such integration spread quickly. Let's consider the main features of Western European education embedded in Chinese education ^[18]:

1. The South American model of education

2. The model of education in continental Europe (Germany)

3. Qualifications of higher education institutions

4. Research in specific fields

5. Organizations that improve highly specialized education

6. Institutional training programs

7. Methods of assessing students' academic work and qualifications

However, the Chinese government has introduced only a small number of external innovations, and traditional, cultural and historical approaches to education in the PRC have been preserved ^[19].

As a result of the integration of innovations with traditional approaches in Chinese education, music education has four main stages: 1) music education within the framework of general secondary school education; 2) music and pedagogical education for the training of music teachers in secondary schools; 3) music education for the training of music teachers in specialized music educational institutions of secondary and higher education; 4) public music education for various segments of the population, which is called social music education in China education. Musical education of the society provides an opportunity to organize and carry out public actions, holidays and ritual song festivities ^[20].

Let's take a closer look at the content of the above-mentioned stages of music education. Music education in secondary schools in China begins at preschool age and continues throughout the entire period of education in secondary school. Its main goal is the formation of a common musical culture and the careful upbringing of the younger generation through Chinese folk songs.

Music teacher education trains music teachers for preschool and secondary education. The main goal of music teachers is the musical education of all students of general education.

Professional music education is the training of professional teachers in educational institutions such as music colleges, institutes, and universities. The main goal is to develop professional competencies among music teachers ^[21].

Social music education is the dissemination of Chinese folk music to the general public in the form of street, folk, ceremonial, and festival celebrations. The main purpose of this type of music education is to support general musical enlightenment, but at the same time to influence groups of the population who no longer participate in education in educational institutions.

Thus, in China, music education is integrated at all levels of general education. The main social value-oriented priorities of Chinese folk song should be highlighted: 1) preservation, development and dissemination of Chinese folk traditions; 2) folk song as a source of personal development of children and youth; 3) folk song as a means of fostering patriotism and morality.

The significance of Chinese folk songs is determined by the richness of their creative forms, genres, performance techniques and regional peculiarities. Next, we list the main types of Chinese folk songs. Chinese folk songs have several genres or three main types:

1. Chaots (labor tunes)These are songs that use a rhythmic melody that promotes the performance of physical labor.

2. Shangge 山–- translated from Chinese means "mountain songs".

3. Xiaodiao (short songs)– This category includes the following types of songs: humorous, nursery rhymes, folklore songs.

The above classifications indicate the diversity of the Chinese culture of traditional folk songs.

The folklore of Chinese folk songs is divided into three types: instrumental, vocal, and musical-dramatic. Songs are also classified by national origin and region of distribution. There are educational and practical classifications based on performance skills ^[22].

Therefore, it can be argued that Chinese folk songs are associated with the centuries-old culture, history and life of different ethnic groups in China.

The diversity of ethnic groups in China also influences the diversity of song traditions and genres. Since folk songs were composed by different ethnic groups living in different regions and engaged in various activities (such as agriculture, animal husbandry, and fishing), Chinese folk songs are classified according to genre systems.

For example, the ancient Chinese had songs that differed depending on the geographical location of the northern and southern regions. The folk songs of the southern regions were distinguished by bright and subtle motifs, while in the northern mountainous regions they were loud, sonorous songs with a rhythmic tempo. Folk songs include lyrical songs called "Xuhebao", which are sung differently in different regions of China. These differences in folk songs are influenced by the economic activities and hobbies of different ethnic groups who live in the provinces of Yunnan, Sichuan and Shanxi.

Chinese teacher Liu Zichen has developed his own classification of Chinese folk songs ^[23]:

1. Laojie ge (songs for performing various types of work) — praise hard physical work and emphasize the importance of this work for all Chinese.

2. Shanten ge (long-drawn lyrical songs) — Chinese folklore reflects the feelings and emotions of the Chinese people.

3. Chin su ge (songs performed in the family circle) — examines the relationship in various role positions in the family among a married couple, parents and children, close and distant relatives in interaction with one particular family.

4. Sho chan (song-tales) — narrate historical facts and legends in the folklore form of tales with elements of mythology.

Let's consider the features of the historical development of Chinese folk songs (Table 1).

Table 1

Features of the history of Chinese folk songs

Conclusions

The presented genre uniqueness of Chinese folk songs allows us to assert that folk song is a significant means of influencing all stages of age-related personality development for the following reasons:

1. Chinese folk song is distinguished by its rich historical development, connection with traditional musical heritage and educational significance. It plays an important role in the preservation and transmission of cultural values.

2. Chinese folk song contains elements of oral folk art, dances and rituals, which makes it attractive to children of different ages and social groups. It helps to develop creativity, musical ear and sense of rhythm.

3. Performing folk songs at school helps children to better understand and love their culture, history and traditions. It also promotes respect for other cultures and peoples, and an understanding of their characteristics and differences.

4. Chinese folk songs often contain ideas of goodness, justice, love for nature and the people around them. This makes it a powerful tool for moral education of children.

It should be noted that songs have a unique ability to involuntarily influence human emotions and mental processes. In the modern world, it is especially important to use music, including folk music, psychologically competently to influence the human psyche in such a way as to develop the best personal qualities based on moral potential.

Conclusion

Traditional musical culture is of great importance for strengthening cultural ties and developing spiritual heritage. Thanks to the Internet, there is an exchange of experience and interaction between different musical genres. Studying the pedagogical experience of using Chinese folk songs in the development of a person's moral potential is undoubtedly interesting for the Russian pedagogical system of musical education.

Interestingly, in the methodology of music education in secondary schools, Chinese schoolchildren get acquainted with Russian folk songs. This experience of Chinese colleagues should be studied in more detail, because the use of both Russian and Chinese folk songs in the modern didactic system of Russian education has great prospects. Further prospects lie in the need to conduct joint research by Russian and Chinese specialists on the introduction of folk songs into the educational process not only in secondary schools, but also in higher education. Familiarization with Chinese folk songs in the Russian education system will allow them to be used as a means of education and development not only in music lessons, but also in Chinese language lessons, history and geography lessons.

The conducted theoretical analysis allows us to conclude that it is important to use folk songs in a mass context and actively introduce them into the educational process. This is confirmed by the practice of music education in China, where music education is included at all levels of education from preschool to higher professional education. In addition, musical education using Chinese folk music is also included in social music education. The study of the pedagogical experience of China presented in the article is important for the development of cross-cultural interdisciplinary research in the field of the development of educational and moral potentials of personality, taking into account the wealth of pedagogical possibilities and the variety of folk songs of various ethnic cultures.