Auswahl der wissenschaftlichen Literatur zum Thema „Sichuan xiang jiao chang“

A five-member Forest Inventory and Management Technical Mission from the Ministry of Forestry, People's Republic of China (PRC) visited Canada, from July 29 to August 19, 1984. This visit was sponsored by the Canadian Forestry Service (CFS) under the Memorandum of Understanding between Environment Canada and the Ministry of Forestry, PRC.The Chinese technical mission consisted of Mr. Zhou Chang-xiang, mission leader and Director of Forest Inventory and Planning Branch, Ministry of Forestry, PRC; Mr. Yuan Yun-chang, Forest Resource Management Branch, Ministry of Forestry, PRC; Mr. Zhao Qing-he, Director of Forest Inventory and Planning Institute, Jilin Province; Mr. Liu Hai-ru, Forest Survey and Design Institute, Sichuan Province; and Mr. Yuan Hai-ying, interpreter, Department of Foreign Affairs, Ministry of Forestry (Fig. 1).The following is a translation of their report to the Ministry of Forestry, PRC, by Dr. Lee who developed the itinerary and accompanied the visitors as tour coordinator and advisor.

Abstract The year of 2020 has been overshadowed by the COVID-19 pandemic. Medical workers throughout China have played critical roles in battling severe acute respiratory syndrome-coronavirus 2 (SARS-CoV-2) and saving lives. The whole of society has now fully realized the significance of medical workers and many began to think about medical education in China: How can we further improve medical education for the next generation of clinicians, medical scientists, nurses, public-health workers and administrators related to medical care, so that they are well prepared to meet societal needs for medical care in the ever-changing world? In this panel discussion, medical-education experts from several prominent medical schools in China gathered to discuss the reform and future development of China's medical education. Xiang Chen President of Xiangya School of Medicine, Vice President of Central South University, Changsha, China Baorong Chi Professor of Norman Bethune Health Science Center of Jilin University, Changchun, China Yiqun Hu Vice Chancellor of Shanghai Jiao Tong University School of Medicine, Shanghai, China Yang Ke Professor of Peking University Health Science Center, former Vice President of Peking University, Beijing, China Ming Kuang Vice President of Zhongshan School of Medicine, Sun Yat-sen University, Guangzhou, China Mengfeng Li President of Southern Medical University, Guangzhou, China Hongbing Shen President of Nanjing Medical University, Nanjing, China Xuehong Wan Professor of West China Medical Center, Vice President of Graduate School of Sichuan University, Chengdu, China Hong Yan President of Xi’an Jiaotong University Health Science Center, Vice President of Xi’an Jiaotong University, Xi’an, China Guoqiang Chen (Chair) Chancellor of Shanghai Jiao Tong University School of Medicine, Vice President of Shanghai Jiao Tong University, Shanghai, China

The purpose of the article is to study the presentation of traditional Chinese music genres in the world. The methodology of the study is to use historical and biographical methods in the study of this topic. The scientific novelty of the article is to explore the expediency of presenting traditional Chinese music genres in the world. After all, this question reflects both the traditions and customs of the country and raises the names of scholars of Chinese culture. The presentation of Chinese art is due to the holding of opera festivals that influence the culture of the whole country. The emergence of new theatrical acts and performances also influenced China's outlook. Conclusions. The introduction of traditional Chinese music genres in the world is due to the development of culture and education in the country. The system of thinking of Chinese culture is based on the ancient philosophy of the country. Musical art is in constant search: the nature of sound, timbre palette, forms, combining national motives. Through the combination of national traits, country philosophy, religious tendencies, elements of vocal and instrumental folklore, theater and composition, and piano culture, China's musical piano culture has become well-known in the world. It was the Suetan School and Yuege's educational system that formed the basis for the development of Chinese musical culture. Speaking about the nature of Chinese music, it should be emphasized that it has its intonation-melodic nature, which is different from European music samples. Chinese people became acquainted with the performance of European works through touring. In the early ’70s began to reform the conservatories into musical institutes. For example, music institutions such as the conservatories in Wuhan (Hubei), Shenyang (Liaoning), Xi'an (Shaanxi), and Chengdu (Sichuan) have undergone these changes. During this period (the ’70s), the flowering of Chinese music education began, orchestras, amateur bands appeared, research aroused curiosity, and music magazines began to be published. Teachers such as Zhou Xiaoyan, Lan Yushu, Yu Yixuan, Shen Xiang, Xi Ggui, Wen Quecheng, Li Zhishui, Wei Chixian, Man Jiangxi, Sung Xin, Hu Yan, Gao Zhilan, Do Shinji, and others start their creative activity. The revitalization of music education is in the twentieth century, which causes the development and rethinking of new turns in educational processes. The processes of formation and development of the Chinese music education system are reflected in the works of Wang Yuhe, Liu Pei, Yang Bohua, stylistic features of musical art were interested in F. Arzamanov, V. Vakulishin, Lin Hai, Liu Da-jung, Ma Gesun, Sun Tsunin, In Gen- Ira, Chang Ling, Yang Xiao Xu and more. Chinese education has interested such scholars as: Ding Yun, Yang Bohua. It should be said that much attention was paid to education, as evidenced by the work of scientists. Turning to the historical facts, it becomes known that music education began to develop during the Tang era (VII-X centuries). This led to the emergence of performing schools and the establishment of educational institutions, which allowed to expand the representation of traditional genres of the world.