DISSERTATION ABSTRACT
“Theory and
Methodology of Tuning with Music”
By
J. Bayrsaikhan
College
of Music and Dance
Supervisors: L.Erdenechimeg, professor of Music Studies
Ts. Luvsandorj,
professor of Mathematics Education
A dissertation thesis is expressed by a
proposition that the essential substances of a man and music are recognized as
vibrations or waves and, thus, a man is tuned with music.
The thesis is
broken down into a research problem and hypothesis stated as below:
A research problem is whether a
theory can be built so that it can function as a theoretical and methodological
foundation to tune peoples with music.
Hypothesis 1: A theory to explain
the phenomena of being tuned and tuning,
and music learning and teaching;
and also to function a theoretical and methodological foundation to tune
peoples with music can be built through ways to reconsider and recognize the
qualitative attributes of sound and root attributes of a man.
Hypothesis 2: The root attributes of both man and music
tend to be waves, thus, a man is more likely to be tuned with
music.
In order to examine the hypotheses, and to
seek a solution to the research problem, the following research methods and
techniques are favored to be employed in this research:
-Holistic approach which is used as
philosophical orientation and general guideline
- Case and
meta-analyses which are applied to collect primary and secondary data and
evidence
-Systematic
approach, dialectic logics, induction and intuition which are used to ways and
rules and instruments to reason, argue, contemplate, sense and think.
-Research
techniques such as to build a theory and to make interpretations which are used
specific ways to generate ways and ideas to deal with research problems and
hypotheses.
Taken
into account the specific nature and features of this study, three kinds of the
cases were selected to be examined by case analysis:
Case1: My own experiences, data and evidence having
gathered and observed for about 40 years in teaching and learning music,
Case 2: 50 students of the College
of Music and Dance and data and evidence associated with about 31500 teaching
hours,
Case 3: 10 well-known masters in
music history and data and evidence associated with their teaching and learning
real experiences, thoughts and ideas remained in documents such as books, memories
and letters.
In addition, the
following sources were being reviewed and analyzed by the meta-analysis:
-Books and other
related documents focusing on world history of science, technology and thoughts
containing archeological and anthropological evidence and artifacts,
-Famous references
such Surangama Sutra, Bible and Koran,
-Thoughts, ideas,
speeches and experiences of propound masters and composers in music who are
highly likely to sense and to experience the real essence of music and its
nature.
The findings of
this study are twofold:
1. Khug
theory of music
2. Methodology to tune peoples with a violin.
A khug theory
of music, a fifth theory among appeared ones in the history of music is, in
essence, recognized as a musical system to explain the nature of music and
musical phenomena with main terms, such as khug and timbers that bear, in turn,
only qualitative attributes of sounds associated with three dimensions on man. Etymologically speaking, khug,
a basic term of khug theory of music is rooted from a Mongolian word, khugjim, meaning a path of sound or
sound road.
A khug theory
of music is potentially built to be able to function philosophical and
didactical systems in music and music education. To do so, we have sought and found consistent
arguments in the light of a khug theory of music which underlie reasonable answers
to the fundamental questions and problems of the philosophy of music and its
didactics as well. In the end, we have
come to the conclusion that a khug theory of music functions as a philosophy of
music and music education and then a didactic theory in teaching and learning
music.
Using a khug
theory of music as a didactical framework, as a philosophical orientation of
music education, a methodology to tune peoples with a violin was
developed. The essence of the
methodology to tune peoples with a violin was explained as such. It is pictured as a system composed of five principles
and five stages of tuning named as follows:
Principle
1: To be physically healthy
Principle
2: To be mentally wise
Principle
3: To be spiritually pure[1]
Principle
4: To be curious
Principle
5: To be dedicated
Tuning stage
1: Body adjustment (without a violin)
Tuning stage
2: Whole body adjusted with a violin
Tuning stage
3: Sensing khug and tone color
Tuning stage
4: Making sounds with khug and tones
Tuning stage
5: To be tuned and tune with music
Thus, it is
summarized that there is a khug theory built which can function as a
theoretical foundation to tune peoples with music. Thus, the first hypothesis was proved, but
not rejected. Moreover, there is a
methodology developed which can be used a methodology or a way to tune people with
music. Overall, it can be concluded that
peoples are more likely to be tuned with music as long as a khug theory is used
as a theoretical foundation and the methodology to tune peoples with a violin
is applied as a methodology.
This research
is theoretically and practically significant. The theoretical significance of
the research is that a khug theory constructed as a result can bring a new
insight into reconsidering fields related to music development such as music
theory, philosophy of music, and music education and teaching and learning
music. Moreover, the appropriate
application of the khug theory into education policy of music should be
considerable. This consideration can be to some extent regarded as possible its
practical significance.
Keywords: khug[2],
timber, theory of music, a philosophy of music, didactics of music and music
education, khug theory of music, tuning peoples with music
[1] Explanation: This principle is originally said as “setgel
tungalag baik’ in a dissertation written in Mongolian context. In English, it can be favored to be
translated as ‘to be spiritually pure”. However, it is acknowledged that there
have been long term debates among scholars whether a Mongolian word, ‘setgel’
is equivalent to an English term, spirit.
[2]
Khug, a basic term of
a khug theory of music is rooted from a Mongolian word, khugjim, meaning a path of sound or sound road. In a dissertation,
a term, khug is
defined by the qualitative and holistic essence of sound associated with three
dimensions on man. Thus, the meaning of this word is broader, at the same time,
deeper than that of physical or mechanical vibrations or waves.
