Acceso usuarios
Ying Zheng
Against the backdrop of deepening global integration in music education, how to scientifically introduce and effectively integrate Western bel canto mezzo-soprano pedagogy into China’s indigenous vocal system has become a significant academic concern. Differences between Western training and Chinese vocal traditions—in vocal techniques, aesthetic orientations, and pedagogical philosophies—generate challenges in localization, aesthetic conflict, and the balance between national identity and international standards. Existing studies often rely on technical transplantation or experiential discussion, lacking solid theoretical grounding and systematic empirical evidence. This study therefore adopts acculturation theory as its core lens to reveal the mechanisms underlying Sino-Western integration in mezzo-soprano teaching. It aims to construct a scientific cross-cultural pedagogical framework, offer theoretical and practical guidance for mezzo-soprano training in China, and provide an empirical case that challenges the long-standing assumption of “one-way technical borrowing.” The study applies acculturation theory as its theoretical foundation and employs grounded theory as its primary methodological approach to avoid bias caused by pre-established assumptions. The research involves eight participants: four vocal educators (two European and two Chinese) and four students with educational experience in both Chinese and Western conservatories. Data were collected through semi-structured in-depth interviews focusing on teaching philosophy, technical adaptation, aesthetic cognition, and cross-cultural learning experiences. Data analysis followed grounded theory’s three-stage coding procedure. Open coding generated initial concepts; axial coding established relationships among categories; and selective coding identified the core category and integrated it into a coherent theoretical model. This process ensures both systematic analysis and the rigor required for inductive theory building. The research yields a “cross-cultural mezzo-soprano teaching framework” comprising three interrelated dimensions. First, Technical Creative Transformation emphasizes that Western vocal techniques must undergo creative adaptation when applied in the Chinese context. Adjustments should consider Mandarin phonetic features, Chinese vocal aesthetics, and the demands of local repertoire rather than relying on mechanical transplantation. Second, Aesthetic Negotiation Dialogue captures the dynamic process through which Western and Chinese vocal aesthetics move from conflict to coexistence. Through continuous negotiation, teachers and students gradually develop a pluralistic vocal identity and aesthetic orientation. Third, Practical Synergistic Circulation demonstrates that effective integration is not a one-time action but a cyclical process formed by “practice–feedback–teaching,” allowing pedagogical ideas and technical strategies to evolve through sustained interaction. Overall, the findings reveal that Sino-Western pedagogical integration is essentially a process of co-construction between the two systems, rather than unilateral input from the West. The study concludes that cross-cultural vocal pedagogy must be grounded in two-way adaptation and continuous interaction. The proposed three-dimensional framework effectively addresses long-standing challenges related to the localization of Western technique and aesthetic divergence, offering a systematic and operable model for mezzo-soprano teaching in China. Theoretically, the study fills a notable gap in cross-cultural vocal pedagogy; practically, it provides actionable strategies for educators and supports students in forming a cross-cultural vocal identity. By presenting an empirical case, the study advances cross-cultural music education from conceptual discussion toward evidence-based research, offering new insights and directions for future exploration of Sino-Western vocal integration.
