Exploring the Integration of Chinese Music in Western Musicological Literature: Trends, Gaps, and Multicultural Perspectives

Abstract

The purpose of the article is to analyse Western musicological literature to identify key trends and gaps in existing research on Chinese music as an integral part of the contemporary multicultural educational space. The research methodology is based on content analysis, comparative analysis, and bibliographic review. The primary method is content analysis, involving a systematic review of academic articles, monographs, reviews, and other publications on Chinese music in Western musicological literature. Comparative analysis is used to compare Western research on Chinese music with scholarly work from China and other countries. Bibliographic review helps to identify scientific gaps and trends in Chinese music research. The scientific novelty of the study lies in the comprehensive analysis of Western musicological literature on Chinese music to reveal key trends and gaps in existing research. The use of content analysis, comparative analysis, and bibliographic review allows for the first systematic organisation and comparison of approaches to studying Chinese music in different cultural contexts. The study also provides new insights into the role of Chinese music in the contemporary multicultural educational space, contributing to its integration and popularisation. Conclusions. Over the past three decades, publications on Chinese music within the context of multicultural music education have been irregular. Although the number of studies is not large, it shows moderate activity in the 1990s and early 2000s, with a noticeable increase after 2007 and periods of decline between 2010 and 2014. This indicates the need for further analysis of the reasons behind this dynamic and a deeper exploration of the integration of Chinese music into the Western educational context. The literature review shows that research covers a broad range of educational contexts, from early childhood to higher education and teacher professional development, indicating the potential for integrating Chinese music at various levels of formal education. The review also reveals that research on Chinese music often has a Eurocentric approach, evaluating it through the lens of Western music theory. This limits the full understanding and integration of Chinese musical traditions, highlighting the need for a deeper and more comprehensive approach that would foster an understanding of Chinese music in its own context.