RESEARCH ON THE TEACHING OF CHINESE OPERA IN LOCAL UNIVERSITIES IN

NINGXIA

Wang Jaipei

Introduction
Chinese opera is a unique art form that holds significant cultural and social importance. The
recent growth and globalization of Chinese culture have led to increased attention towards the
teaching and research of Chinese opera in academic circles worldwide. However, the
development of Chinese opera and vocal music education in Ningxia has been slow due to
several factors, including its remote location, underdeveloped economy, and lack of educational
resources. As a result, the teaching and research of Chinese opera in local colleges and
universities in Ningxia have not been adequately emphasized and developed.
Chinese opera has its roots in western cultural influences during the May 4th Movement.
With this new culture movement, Chinese artists explored reforming Chinese opera. Many
artists like Li Jinhui and Huang Yuanluo pioneered new forms of Chinese opera. Important
works like White-haired Girl and Sister Jiang emerged, which showcased the increasing
maturity of the artform. Many great Chinese operas like Canal and Yimeng Mountain entered
the public consciousness. Generations of talented artists inherited traditional music and made
pioneering contributions to composing and performing Chinese opera. Currently, there are 11
independent professional music conservatories in China, including the Shanghai Conservatory
of Music and China Conservatory of Music, where Chinese opera performance, lines, and body
form are taught in the form of stage performance practice. However, Ningxia, located in
northwest China, has far less understanding of Chinese opera; and the teaching system is not
perfect, which lacks a correct opera concept. The School of Music of Ningxia University and the
Ningxia Vocational College of Arts offer courses on vocal music performance and work
rehearsal, including Chinese and Western opera fragments. Still, the professional foundation of
students is relatively weak, and the teaching content is poor, and the teachers lack experience.
The education system reform emphasizes the development of vocational education and sets
higher standards for its operation scale and quality to promote its transformation and
development to a higher level. In higher vocational colleges, the teaching of vocal music should
also be developed according to students' aptitude and with a vision of development.
To address this issue, it is essential to align vocal music education and teaching with the
local context, understand the basic situation of students and universities in Ningxia, seek
appropriate solutions, and establish a comprehensive Chinese opera teaching mode. This
approach should include various types of Chinese opera, select suitable teaching methods for
different types based on individual vocal characteristics and physical differences, and match
students with appropriate roles. After establishing a complete opera stage, practical
opportunities should be sought to improve students' professional abilities and promote the
publicity of Chinese opera culture. This will contribute to making the education and teaching
achievements of Chinese opera in Ningxia more notable.

Problem Statement of the Research

This study aims to address the lack of inclusion of Ningxia's unique Hua'er opera in the
teaching content of higher education institutions. The study examines the birth and development
of Chinese opera and Ningxia Hua'er opera, selects different styles and singing forms of classic
operas, and combines them with local practices and performances. It also explores historical
background, singing methods, stage performances, and teaching methods to promote the
development of Chinese opera in Ningxia and its inheritance, which provides new ideas and
methods for local college music education.

Purpose of the Research

The research aims to develop a standardized teaching approach for Chinese opera through
the examination of the current state of Chinese opera in Ningxia and the common singing
challenges faced by vocal music students in Ningxia universities. Existing Chinese opera
studies have focused on music, script, stage design, and performance, with limited attention to
university teaching. Similarly, there is a lack of research on establishing a standardized teaching
system in colleges and universities, particularly in Ningxia. Furthermore, research on the local
Hua’er opera in Ningxia has primarily centered on melody and script, which neglects systematic
research on singing and performance. The study also addresses the difficulties in conducting
large-scale, professional opera performances in Ningxia due to various constraints. It
specifically focuses on mitigating the influence of the Ningxia dialect on pronunciation and
singing voice, as well as addressing the scarcity of low voice and the lack of professional
teaching activities in the region.

Research Questions
1. What is the difference between Hua’er opera and other singing styles?
2. How to solve the influence of Ningxia regional dialect on Chinese opera singing?
3. What is the teaching mode of Chinese opera in Ningxia?
4. How to present a complete opera stage performance?
5. How to increase the stage practice opportunity of Chinese opera in Ningxia?

Significance of the Research

This study aims to promote the development of opera teaching in Ningxia by conducting
an in-depth analysis of the teaching status, existing problems, and teaching development trends
in universities in this region. The findings of this study will serve as a reference for improving
teaching methods and enhancing teaching quality. Moreover, Chinese opera is a unique art
form that plays a significant role in improving students' artistic accomplishment and performance
ability. By studying Chinese opera teaching in universities in Ningxia, more effective teaching
methods can be explored to help students better understand and master the performance skills
and artistic connotation of Chinese opera. Furthermore, Ningxia boasts rich cultural deposition
and historical accumulation, with Chinese opera being an important part of it. Therefore, this
study seeks to promote the development of local cultural undertakings and requires the
preservation and promotion of Chinese opera.

Scope and Limitation of the Research

This study will discuss the following:
a. Development and teaching of Chinese opera in Ningxia before 1959 until 2024.
b. Historical development of Chinese opera, propagation, vocal instruction, and educational
practices in Ningxia.
c. Investigation on the specific teaching methodologies on three opera excerpts.

In this thesis, I will NOT include the following:

a. The vocal music teaching content of primary and secondary schools in Ningxia
b. The future development direction of Chinese opera creation in Ningxia.

The reason I will not include this are:

As a vocal music instructor at a university, studying vocal music education in middle and
primary schools is not beneficial for my future. Furthermore, my mentor specializes in Chinese
opera performance, and my research is challenging as my focus is on singing and performing
rather than composing and writing lyrics.

Methodology
This research project will involve interviewing opera performers, experts, and scholars,
observing Chinese opera performances, and conducting literature research to gain insights into
various aspects of Chinese opera. The literature research method and fieldwork will be used to
achieve this goal. Additionally, the literature research method will be used to understand the
development history of Chinese opera, the similarities and differences between Chinese and
foreign opera singing, the characteristics of Ningxia dialect, the training of Putonghua, and the
basic situation of Hua’er opera.
The field investigation involved conducting interviews with Chinese opera actors,
experts, scholars, vocal music teachers, and students from Ningxia University and Ningxia
Vocational College of Arts. The purpose is to gain an understanding of the classroom form,
content, and examination methods of vocal music students, and to collect video and rehearsal
materials of the opera Jiang jie of Ningxia Vocational College of Arts.The researcher will
conduct the survey at their place of work, the school, and will heavily depend on the input of the
students and teachers. The researcher will use their teaching experience to observe the
students' classroom behavior, the voice characteristics of various students, and the teaching
styles of the teachers. They will then analyze the strengths and weaknesses of the approach
and draw conclusions. Additionally, some alumni engaged in opera performances, and the
researcher's tutor, Professor Han Yanwen, a famous opera performance artist in China, will
provide opportunities to participate in large-scale opera performances and accumulate
experience through practice. Furthermore, the case analysis method will be employed to select
three representative opera fragments for detailed teaching analysis.

Review of the Status of the Related Literature

In recent years, Chinese opera has gained increasing influence that leads to a growing
emphasis on its teaching in various colleges and universities. However, a review of the literature
reveals several gaps and weaknesses, particularly in the context of Ningxia. While there are
numerous articles related to Chinese opera teaching, few integrate local practice, and there is a
scarcity of research on the teaching of Chinese opera in Ningxia. To address these issues, this
study aims to explore a teaching mode and content that is culturally relevant and suitable for the
characteristics of Ningxia. This includes adopting different teaching methods for different singing
forms, integrating local characteristics such as Hua'er opera and opera Shan hai qing, which
address language problems in Ningxia, and understanding the differences between the singing
method of Hua'er opera and the national and bel canto singing method. These aspects have not
been adequately addressed in previous literature on the teaching of Chinese opera.
Tentative Chapters of the Thesis

CHAPTER I: PROBLEM AND ITS BACKGROUND

This chapter discusses the research background and problem statement, and answers
the research questions.

CHAPTER II: RELATED LITERATURE REVIEW

This chapter explains the conceptual framework and literature review status quo. Moreover, this
chapter analyzes the literature review and proposes the unique perspective and content of this
study.

CHAPTER III: AN OVERVIEW OF THE HISTORICAL CONTEXT OF CHINESE OPERA

This chapter examines the historical context of Chinese opera. Chinese opera has a
long developmental history. The early opera White-Haired Girl represents an important
milestone. In modern times, many new forms of Chinese opera have emerged, although the
timeline of these recent developments is not well documented. To teach Chinese opera
effectively and with a full appreciation of the art form, it is essential to understand the entire arc
of its historical evolution from ancient roots to contemporary incarnations. Further research is
needed to fill in details, especially regarding the proliferation of modern varieties of Chinese
opera. A comprehensive outline tracing the origins and major phases in the progression of
Chinese opera genres over time will provide useful context and foundation for instructing
students.

CHAPTER IV: CHINESE OPERA IS LOCATED IN NINGXIA

This chapter explains Chinese opera in Ningxia. Chinese opera, including the folk art
form of Hua'er opera, has a long history and active performance scene in Ningxia. However,
there has been little scholarly attention paid to Chinese opera in Ningxia. Only 25 articles focus
specifically on Ningxia's Hua'er opera tradition, and just one book provides an overview of this
regional opera style. At the university level, Chinese opera education in Ningxia has received
minimal analysis, though it faces challenges today. Taking two Ningxia universities as
examples, this study explains the current situation of Chinese opera curriculum and teaching,
including the lack of specialized faculty and declining student interest. Overall, more research is
needed on the development and teaching of Chinese opera genres in Ningxia in order to
support this valuable regional cultural heritage.

CHAPTER V: A COMPARISON OF THE BASIC SINGING METHODS OF CHINESE OPERA

SINGING
The chapter discusses the three main singing techniques used in Chinese opera:
nationality singing, bel canto, and Hua'er opera. While there is extensive literature on nationality
and bel canto techniques, there is a gap in research on Hua'er opera singing methods. By
comparing and contrasting these three techniques, this study gives better understanding of the
unique characteristics and matches aspiring singers with the vocal style that is best suited to
their abilities. Further analysis of the similarities and differences between these singing styles
can help select the right students for each of the major Chinese opera categories.

CHAPTER VI: LANGUAGE PROBLEM OF CHINESE OPERA SINGING IN NINGXIA

The Ningxia dialect, a unique regional variation of Chinese, has a significant impact on
Chinese opera singing. While current research describes the features of the Ningxia dialect and
its usage in the region, there is a lack of discussion on how this dialect specifically influences
Chinese opera singing and techniques for correcting it. Therefore, future work should focus on
how standard Mandarin can be used appropriately to sing Chinese opera well while minimizing
the influence of the regional Ningxia dialect. This would involve identifying standards for proper
Mandarin pronunciation to help opera singers reduce their use of the local dialect.

CHAPTER VII: IN LINE WITH THE CHINESE OPERA TEACHING MODE IN NINGXIA- -TAKE
THE OPERA FRAGMENTS AS AN EXAMPLE
This chapter examines Chinese opera teaching in Ningxia. It focuses on three opera
excerpts in different styles - solo, duet, and chorus - to analyze the teaching concepts and
methods used for Chinese opera in this region. While there is extensive literature on Chinese
opera teaching in general, with 32 documents analyzing it from various angles, there are no
studies looking specifically at teaching regional forms of Chinese opera or comparing teaching
methods for different singing formats like solo versus chorus. This study aims to address that
gap by studying the Chinese opera teaching practices in Ningxia, tailored to the current context
there, across different performance styles like solo singing versus choral opera.

CHAPTER VIII: THE IDEA OF CHINESE OPERA PRACTICING IN NINGXIA STAGE

In the current context of universities, performing arts groups, and companies in Ningxia,
there is a unique opportunity to envision the future of Chinese opera in the region, as there is
limited existing literature on the topic. The distinctive characteristics of Ningxia can provide
insights into how Chinese opera may evolve there in the future. This presents an opportunity to
imagine the potential development of Chinese opera in Ningxia, taking into account the region's
unique cultural and social context.

CHAPTER IX: SUMMARY

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 References

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