Rachmaninoff, a “conservative” composer of twentieth-century music, has long enjoyed high reputation in the performance market and among the general public, but he has also been severely criticized by professional musicians and critics. This paper presents an overview of Rachmaninoff’s reception history in four areas（performance market and public reception, academiccritical attitudes, the situation in the Soviet Union, and the current situation in China and worldwide） and provides critical interpretations. Then the author considers the methodological implications of Rachmaninoff’s reception history and the related aesthetic issues of composing creativity.
Took the theoretical and practical study of music’s Acoustic-Spatial as the research object, the article explores its spatial turn which happened in the 20th century, and to discover its history, basic connotation, and its manifestation in different disciplines. Inspired by theories of psychology, cognitive science, and kinetic theory, the author discusses the representation of acoustic-spatial from the perspective of the primary auditory perception of music, such as pitch system, rhythm system, and texture system.
Gandharva and Kinnara in the ancient Indian myths and legends are the main images of the Flying Apsaras. As two music and dance gods of the Eight Heaven Dragon Gods, they are mostly appeared on the top of the stupas and in Buddhist statues of cave temples. In early Indian cave statues, the image of the two gods have undergone Gandhara, Motsutra and other stylistic changes which have distinguished gender differences. In the Sui Dynasty murals at Dunhuang, the images of the two gods were absorbed a lot of local cultural elements such as Daoist priest, folk acrobatics, and Chinese gigaku. So their sculptures not only differed greatly from the ordinary Indian image, but also represented as the two gods combined as one or indistinguishable images. These changes can be described as from the “sculptures” to “imagery”, and they reflect the localization trajectory of Buddhism in China.
音乐教育高质量发展是一种新的发展观，需要以创新为动力，以优化结构、深化改革、强化保障等为特征。“加快建设高质量教育体系”是党的二十大对高等教育提出的根本要求，是高等音乐院校当前和今后相当长一个时期教育改革发展的战略任务。
党的二十大报告首次把教育、科技、人才进行统筹安排、一体部署，并且单独列章阐述，指出“教育、科技、人才是全面建设社会主义现代化国家的基础性、战略性支撑”，强调“深入实施科教兴国战略、人才强国战略、创新驱动发展战略”。这一新的集中表达，对于我们深刻理解教育优先发展的丰富内涵和时代要求、深刻认识新时代教育的历史性成就和历史性变革、准确把握党的二十大对教育工作的整体部署具有极强的指导意义。
