History of Music of China's Minorities

Author: Yuan Bingchang Feng Guangyu
Publisher:
Publishing Date: 1998-01-01
Features: Regarding the format of this book. At the beginning of the compilation work, to ensure a unified framework for all chapters, we provided the contributors with the "Formatting Guidelines for the History of Music of China's Ethnic Minorities." Given the impossibility of concentrating a group of researchers for historical writing at that time, the decision was made to organize the book by ethnic group, with each ethnic group, regardless of size, having a dedicated chapter (section) on its music history. Regarding length, considering the financial constraints for publication, the "Guidelines" stipulated that "ethnic groups with a long history and larger populations could write up to 30,000 words, while smaller ethnic groups should aim for about 15,000 words. Those with particularly rich historical materials could exceed this limit, but the content must be substantial and not overly lengthy." Now, to enrich the book's content and leave behind valuable historical materials for future generations, the music histories of larger ethnic groups have exceeded 60,000 words, while those of smaller ethnic groups average around 30,000 words per chapter.
In compiling the history of ethnic minority music, we lacked experience and were in the process of exploration, but one thing was clear: it must be based on the actual conditions of the ethnic minorities and avoid a one-size-fits-all approach. The formation of China's ethnic groups occurred at different times, and their social development is highly uneven. Therefore, when writing the history of ethnic minority music, it is necessary to break free from the framework of past dynasties and instead follow the historical progression of each ethnic group and the inherent development patterns of music itself. Ethnic groups with a long history and extensive historical records, as well as those with only a few hundred years of history or those who migrated from neighboring countries, may adopt slightly different approaches in writing their music histories, using distinct periods and methods. Some ethnic groups may refer to the chronological divisions and writing styles of their literary histories, but without rigidly applying them. Ethnic groups that migrated from neighboring countries generally have shorter histories, with a focus on the development of their music after settling in China. Transnational or globally distributed ethnic groups should primarily focus on the history of their music within China. Cross-provincial ethnic groups should strive to present a comprehensive view of their music, avoiding oversimplification.
Regarding the ancient and modern. Due to limited historical records, ancient ethnic minority music can be briefly covered while giving more emphasis to the modern era. The timeframe for the "history" should span from ancient times to 1990. Dates in this book, except for those cited from ancient texts, are written in the Common Era. Some ethnic groups have their own historical periods, which should be adopted in writing.
The folk music of China's ethnic minorities was created, passed down, and preserved by folk singers, skilled musicians, instrument makers, and dancers across generations. The history of ethnic minority music should honor their contributions and establish their rightful place in the development of Chinese music. Evaluations of renowned professional musicians and their representative works should also be included as part of the music history. To make this book a living history of music, we have selected over 100 representative musical examples, which may help readers gain a more vivid understanding of the music of each ethnic group.