Abstract

As a professional suona performer and teacher, I have observed some problems in traditional Chinese music education, especially in suona teaching, during my long-term teaching and learning process. Therefore, this study mainly explores the challenges of exclusive teaching, knowledge monopoly, excessive conservatism, and the modernization process of suona. Firstly, traditional suona teaching usually follows a strict master apprentice system, with teachers as absolute authorities, resulting in a lack of technical exchange between different schools. Secondly, many older generation performers are unwilling to record and impart unique playing techniques, resulting in the loss of a large number of precious playing skills. At the same time, the widespread phenomenon of excessive conservatism in suona education has disconnected it from contemporary music culture, significantly affecting the integration of this instrument in modern music. In the attempt of modernization, many suona works often imitate the struc-ture of Western music in form, only adding traditional music elements in the Huacai section, without truly achieving cultural integration. Drawing on the educational philosophy proposed by John Dewey in "Art as Experience" and the relevant theories of Culture Responsive Music Education (CRME), this article advocates the introduction of more inclusive and student-centered teaching methods in suona teaching At the same time, an open technique database should be established to allow students to freely learn diverse performance techniques while guiding them to systematically learn different music cultures, and encouraging educators to engage in reflective teaching practices. By creating a more open and flexible educational environment, suona teaching can achieve innovative development while adhering to tradition, ensuring its sustainable development and dissemination in the modern music system.