This week, with my research question in mind, I did some preliminary research and reading related to this topic：

1. Qin L (2003) Urban Music Culture and Music Industrialization. Music Art (Journal of Shanghai Conservatory of Music), 2003(2):40-46.
   
   Urban music culture is a cultural phenomenon in which people materialize their spirit, thoughts, and feelings into a sound plant in a specific geographical, social, and economic context of the city, and embody this plant as a means of edification, aesthetics, and commercial function to realize the inheritance and development of human civilization through organization, professionalism, and management. With the continuous development of urbanization, the industrialization of music has become an important cultural characteristic of modern society.
   
   
2. Lingqun C (2002) What’s in our “drawer”? –Historical Materials for the Study of Modern Music History in China. Huang Zhong (Journal of Wuhan Conservatory of Music), 2002(3):8-12.
   
   “Drawer” is, of course, a metaphor for our treasure trove of historical materials. Historians know that theories should come from history and that one should never cook without rice when there are several historical materials. The study of the history of modern Chinese music, as a new discipline of music history is still immature, even when it was started in 1958 in the era of the popularity of “theory with history” (which became “theory in place of history”), it still carried out the preliminary historical material work; by that time, the history of Chinese music had been made by the Chinese Academy of Music. The then China Music Research Institute (now the Music Research Institute of the China Academy of Art) compiled and printed the “Chinese modern music history reference materials”, is the result of the work at that time, not only for the discipline that was born in the ground to lay a side of the foundation of the groundwork, but also to this day is still cherished by the later researchers, as an important basis for the research work. From 1958 to the present, after the catastrophe of the “Ten-year Cultural Revolution” and the development in the direction of depth since the entry into the new period, the study of modern Chinese music history has gone through more than 40 years of twists and turns, and the discipline “will be blessed if it does not die”.
   
   
3. Shuxuan L (2012) Inheritance and Protection of Yunnan Minority Folk Music Culture in the Perspective of Communication Studies. Ethnic Arts Research, 2012,25(1):50-55.
   
   Yunnan is one of the richest and most diverse regions of China in terms of ethnic folk music. Yunnan ethnic minority folk music originates from the colorful life of ethnic minorities and the natural ecological environment, which has a long history, infinite artistic charm, and is full of simple humanistic philosophy, with unlimited vitality. It is rich and vivid, straightforward and expressive, and has been endless, and has developed numerous varieties and colorful musical styles. Today, with the rapid development of the national economy and the development of the western region, brick houses have replaced bamboo buildings, and pop music has replaced folk songs, the conditions for the survival of ethnic minority folk music are not the same as in the past, and there is a danger of gradual loss or even extinction. How to explore new ideas and ways to pass on and protect ethnic minority folk music culture under the new situation is an urgent task for our mass culture workers.
   
   
4. Yandi Y (2006) The Transformation of “Modernity” in Music: The Embodiment and Reflection of “Modernity” in Chinese and Western Musical Cultures in the Early 20th Century. Music Art (Journal of Shanghai Conservatory of Music), 2006(1):57-64.
   
   Starting from the theoretical perspective of “modernity”, and concerning the historical process of Western music in the first half of the 20th century, the article critically examines the transformation of Chinese music into modernity in the early part of the 20th century and reflects on the historical significance and deeper impact of this transformation. The author argues that the transformation of modernity in Chinese music was an abrupt turn in response to external forces (the changes in Chinese society and the influence of Western music), which led to the formation of the concept of modern music and art, the widespread introduction of Western music, and the rise of a sense of nationalism in music, and had a significant and far-reaching impact on the practical operation and consciousness of Chinese music in the subsequent period.