Resumen: El piano, de origen europeo, es la cristalización de la civilización musical occidental y es conocido como el rey de los instrumentos musicales. Después de cientos de años de desarrollo, ha desarrollado un sistema relativamente completo de creación, interpretación y enseñanza. En este proceso, se puede ver que hay muchas obras de música para piano con el estilo y el encanto únicos del pensamiento tradicional chino, utilizando el método de la música folclórica china y la melodía con características chinas. (...) La combinación de pensamientos tradicionales y piano demuestra el encanto único de la música china, con una fuerte herencia cultural y atractivo artístico. Por lo tanto, las obras de música para piano infiltradas en el pensamiento tradicional chino no son sólo un tesoro de China, sino también un elemento indispensable en la interpretación y educación del piano chino. El propósito de este artículo es comprender y reflexionar profundamente sobre las obras de música para piano en la cultura tradicional china, explorar la singularidad y el encanto de las obras de música para piano chinas y comprender la encarnación de los pensamientos tradicionales chinos en la creación de música para piano, explorando así la singularidad y la innovación. de la creación de música para piano china, proporcionando referencia y apoyo para promover el desarrollo de las obras de música para piano china. (shrink)

Resumo: A música tradicional chinesa tem uma longa história, repleta de conceitos estéticos ricos e extensos. A integração da música tradicional e das ideias estéticas tem um impacto significativo na formação do sistema musical tradicional da China. Este artigo explora a influência interativa da música tradicional e das ideias estéticas, analisando as ideias musicais da estética tradicional chinesa, buscando promover a integração e o desenvolvimento da música tradicional e das ideias estéticas. Discute o conteúdo das ideias estéticas musicais do confucionismo, (...) taoísmo e moísmo, bem como a posição das ideias estéticas na música tradicional chinesa. Ao combinar e analisar a literatura relevante, livros antigos e materiais históricos, é possível compreender a evolução histórica e a influência mútua da música tradicional e do pensamento estético. Os conceitos estéticos tradicionais não só desempenharam um papel importante no desenvolvimento da música chinesa, mas também na promoção do desenvolvimento da música chinesa, ao longo de milhares de anos de história. Na avaliação da interação entre a música tradicional e o pensamento estético, pode ocorrer uma situação em que o conceito seja demasiado simplificado. A relação entre a música tradicional e o pensamento estético é muito complicada, envolvendo muitas escolas, períodos históricos e regiões. Pode não ser capaz de cobrir totalmente todos os fatores de influência, se for resumido apenas pelo confucionismo, taoísmo e budismo. Sugere-se que a educação e a herança da música tradicional e das ideias estéticas sejam fortalecidas, na educação musical. Artistas musicais mais tradicionais e os teóricos da estética devem ser cultivados, a fim de poder transmitir a música tradicional e as ideias estéticas às gerações futuras e continuar a desenvolver-se e a inovar, na sociedade contemporânea. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:中国音乐教育与国际音乐教育 [Chinese Music Education and International Music Education] by Jianhua GuanMengchen LuJianhua Guan, 中国音乐教育与国际音乐教育 [Chinese Music Education and International Music Education] (Nanjing: Nanjing Normal University Press, 2013)In Chinese Music Education and International Music Education, Jianhua Guan examined Chinese music education and curriculum in relation to other countries’ music education through the lenses of internationalization. Written in (...) Chinese, there were three sections with several chapters in each and one appendix that documented interviews with American music educators such as Bennett Reimer.In the first section entitled, “On the Philosophy and Culture of Music Education,” Guan pointed out that global cultural development in the twenty-first century has influenced Chinese music education. He wrote richly on a diverse array of topics, including globalization, music education based on Chinese culture, music education during the Space Age, Chinese music education in institutions of higher learning, philosophy of music education, and the internationalization of music education. He concluded the first section by introducing the ideas of Chinese music educator Dan Zhaoyi, Chinese musicologist Wang Guangqi, American postmodern cultural and music education, and Reimer’s philosophy of music education. [End Page 194]The second section, “Music Education Curriculum and Teaching,” began by examining challenges faced by the twenty-first century Chinese music classroom. Subsequently, he discussed how teaching approaches in Chinese music education have changed in the twenty-first century, how traditional Chinese music may be taught in the Chinese classroom, and music as part of a multidisciplinary curriculum in secondary education. This was followed by a survey of thirty years of Chinese music education, music education in American universities (such as Wesleyan University), and the Suzuki mother tongue approach to music education. Throughout this section, Guan’s writings were interspersed with chapters translated from writings by Canadian, American, and Japanese scholars, such as in the chapter on “How Music Help Students’ Cognitive Development.” There was also a translation of an introduction to the Indian concept of Guru-Shisya Parampara.In the final section, entitled “On International Multicultural Music Education,” Guan discussed diverse approaches to music education in various parts of the world. Furthermore, he noted the writings of scholars such as Bruno Nettl and Alan Merriam, as well as James Albert Banks, Ram Mahalingam, and Cameron McCarthy. To create awareness of the international music education community, he covered important organizations such as the International Society for Music Education (ISME) as well as the United Nations Educational, Scientific and Cultural Organization (UNESCO). Discussing issues closer to China, he compared the issue of race in China with that of the United States, noting that racial problems are less pronounced in China due to its non-immigrant population. He concluded by writing about Chinese approaches to multicultural music education, making references in particular to two important conferences in China. Following the third section of the book, Guan presented interview transcripts with music educators such as Bennet Reimer.There is much to recommend about Guan’s work. First, he argued that philosophy of music education should be undergirded by culture, a position which he coined “music cultural philosophy” (yinyue wenhua zhexue 音樂文化哲學).1 For him, as the twenty-first century is one that is marked by globalization and multicultural development, musical traditions from different cultures, languages, ethnicities, and religions should not be neglected. Meanwhile, the establishment of the International Society for Music Education (ISME) creates an environment to better understand the inter-relationships between diverse cultures within music education.2 Guan argued for the importance of embracing diverse musical traditions for now and the future, navigating music education in China toward a multicultural philosophy. As music is related to history, culture, and human behavior, it is crucial for us to connect our cultures to others through music and contribute to societal development. In emphasizing the role of culture, Guan [End Page 195] contributed richly to philosophy of music education in China, which has in recent years been influenced by major philosophies from the West. He encouraged China to look within itself to shape its own philosophical thinking.Second, Guan appealed for China to have its own music education system, one which places traditional Chinese music and Chinese culture at its core, so as to free China from... (shrink)

Music impacting on speech processing is vividly evidenced in most reports involving professional musicians, while the question of whether the facilitative effects of music are limited to experts or may extend to amateurs remains to be resolved. Previous research has suggested that analogous to language experience, musicianship also modulates lexical tone perception but the influence of amateur musical experience in adulthood is poorly understood. Furthermore, little is known about how acoustic information and phonological information of lexical tones are (...) processed by amateur musicians. This study aimed to provide neural evidence of cortical plasticity by examining categorical perception of lexical tones in Chinese adults with amateur musical experience relative to the non-musician counterparts. Fifteen adult Chinese amateur musicians and an equal number of non-musicians participated in an event-related potential (ERP) experiment. Their mismatch negativities (MMNs) to lexical tones from Mandarin Tone 2–Tone 4 continuum and non-speech tone analogs were measured. It was hypothesized that amateur musicians would exhibit different MMNs to their non-musician counterparts in processing two aspects of information in lexical tones. Results showed that the MMN mean amplitude evoked by within-category deviants was significantly larger for amateur musicians than non-musicians regardless of speech or non-speech condition. This implies the strengthened processing of acoustic information by adult amateur musicians without the need of focused attention, as the detection of subtle acoustic nuances of pitch was measurably improved. In addition, the MMN peak latency elicited by across-category deviants was significantly shorter than that by within-category deviants for both groups, indicative of the earlier processing of phonological information than acoustic information of lexical tones at the pre-attentive stage. The results mentioned above suggest that cortical plasticity can still be induced in adulthood, hence non-musicians should be defined more strictly than before. Besides, the current study enlarges the population demonstrating the beneficial effects of musical experience on perceptual and cognitive functions, namely, the effects of enhanced speech processing from music are not confined to a small group of experts but extend to a large population of amateurs. (shrink)

The current piano curriculum, according to conventional wisdom, is a product of the western music education system, which accords Chinese traditional culture with less importance. Most of the methods and tools used in today's collegiate piano programs are Western-based, often ignoring traditional musical traditions. However, it is widely acknowledged that piano music plays a key role in the culture of music and that it is closely related to traditional culture and art. Examining the impact of (...) class='Hi'>Chinese traditional philosophy on collegiate piano instruction and performance is the main objective of the present research. The study makes use of an empirical method by conducting a survey and gathering information using a questionnaire. 174 students from six Chinese institutions participated in the current research. Students were split into two groups as a result of the training methodology. 87 students in the experimental group studied using a previously developed curriculum to advance Chinese traditional music culture, whereas 87 students in the control group took piano lessons using the standard curriculum. We used the student’s t-test and Chi-square test for statistical analysis. Since it demonstrates how traditional Chinese philosophy is successfully promoted in educational contexts, the present study is significant from both an academic and a practical standpoint. (shrink)

ABSTRACT The research purpose is to investigate the influence of Confucianism, Taoism and Buddhism on Chinese folklore vocals and their elements in modern music. The research methodology is based on descriptive, comparative, interpretative and statistical analysis (Spearman’s rank correlation coefficient). The analysis of the folk vocals of each thematic group among 110 folk songs of the Shi Jing supports the argument that Confucianism, Taoism and Buddhism had the greatest influence on the vocals. During the analysis, it was determined (...) that folk songs about love (0.942) and songs themed around nature (0.917) exhibit the most pronounced influence on their potential utilisation in the performance of popular compositions. The findings indicated that 75% of the folk vocal compositions with nature-related themes demonstrated discernible influences from Buddhism. The research findings have enabled the identification of exemplary renditions of the folkloric composition ‘Czo-yui’ from the ‘Book of Changes’, adeptly adapted to contemporary motifs, which were achieved at a notably high level within respondent groups #1 (7.2), #4 (7.4) and #5 (7.1). These commendable outcomes are attributed to the preservation of harmonious tonality, precise intonation and artistic expression during the performance process. (shrink)

Many Chinese pianists, Lang Lang and Yun-di Li for example, received international recognition in recent years. When study the history of piano study and composing in China, it is not surprising that the history of Chinese piano music has gone through specific periods which strongly influenced compositional activities. This article is aimed to display cultural and political aspects that are behind historical period and analyses representative work in compositional style and characteristics.

The article examines the influence of ancient Chinese philosophical concepts on the formation of modern piano art in China. Ancient Chinese materialistic philosophy is based on such teachings as Wu-xing and Yin-Yang, the Great Limit (Tai Chi), the eight trigrams and others. With the passage of time and the rapid development of science, these philosophical concepts not only did not lose their significance, but also had a powerful influence on the formation of modern Chinese piano creativity, deeply (...) influenced the form and cultural connotation of Chinese music, and also became the theoretical basis for the works of many modern composers. The philosophical and aesthetic Taiji system presented by composer Zhao Xiaosheng, integrated into the modern piano composition system, marked the beginning of a revolution in the field of piano art, combining the theoretical foundations of traditional Chinese philosophy and the principles of modern composition methods. The research methodology is based on philosophical and cultural analysis, musicological analysis, and semantic analysis. Of particular interest is the comparative analysis of the musical and philosophical "Tai chi composition system" by Zhao Xiaoshen, the dodecaphony of A. Schoenberg and the set theory of M. Babbitt and A. Fort, which the Chinese composer considers the sources of his creativity. The novelty of the research lies in the fact that a correlation is proposed between the key categories of ancient Chinese philosophy and modern experiments in the field of musical expression. The authors managed to demonstrate the high degree of influence of Chinese philosophy on music, to clearly show that the basic postulates of ancient Chinese philosophy have been encoded in the basis of traditional Chinese music since ancient times, and in the twentieth century they were the basis of modern Chinese theory of composition, while playing a colossal role in identifying the common foundations of modern composition of the West and East, while preservation of local features of the diverse sphere of these cultures. The emergence and formation of a philosophical and theoretical system of musical composition, based on the concepts of classical Chinese philosophy, organically refracted in the latest achievements of Western music composition, emphasizes the ontological significance of these concepts for both Eastern and Western culture. And the creation of appropriate musical works undoubtedly leads to positive trends in the development of modern Chinese music and classical Chinese philosophy. (shrink)

During a period of political and social upheaval in China, the unconventional insights of the great Daoist Zhuangzi pointed to a way of living naturally. Inspired by his fascination with the wisdom of this sage, the immensely popular Taiwanese cartoonist Tsai Chih Chung created a bestselling Chinese comic book. Tsai had his cartoon characters enact the key parables of Zhuangzi, and he rendered Zhuangzi's most enlightening sayings into modern Chinese. Through Tsai's enthusiasm and skill, the earliest and core (...) parts of the Zhuangzi were thus made accessible to millions of Chinese-speaking people with no other real chance of appreciating this major Daoist text. Translated into English by Brian Bruya, the comic book is now available to a Western audience. The classical Chinese text of the selections of the Zhuangzi is reproduced in the margins throughout. Evoked by the translation and the playful cartoons is the spontaneity that Zhuangzi favors as an attitude toward life: abandon presuppositions, intellectual debates, and ambitions, he suggests, and listen to the "music of nature." With the writings attributed to Laozi, the Zhuangzi contributed to an alternative philosophical ideal that matched Confucianism in its impact on Chinese culture. Over the centuries this classical Daoism influenced many aspects of Chinese life, including painting, literature, and the martial arts. It had a particularly strong effect on Chan Buddhism. For this book, Donald Munro has written an afterword that places Daoism and the Zhuangzi in historical and cultural context. (shrink)

The knowledge and skills of employees could play a valuable role in organizational success. Organizations seek practices to create a knowledge-sharing culture to take full advantage of individual competencies. However, the knowledge-hiding behavior of individuals is a hurdle in the internal dissemination of knowledge and expertise. It becomes more critical in the case of teaching institutions, where the students are taught and trained. Scholars are now putting their efforts into seeking the antecedents and consequences of knowledge-hiding behavior. This study also (...) attempts to determine the role of interpersonal distrust as an antecedent of knowledge hiding behavior of music education students. Based on the social exchange theory, the present study attempts to check the association of interpersonal distrust with emotional exhaustion and knowledge hiding. For empirical investigation, this study assumes that interpersonal distrust positively enhances knowledge hiding and emotional exhaustion, respectively. Moreover, the present study also attempts to check the association of emotional exhaustion with knowledge hiding. This study also assessed the mediating role of emotional exhaustion in the relationship between interpersonal distrust and knowledge hiding. This current study also aims to check the moderating role of mental health self-efficacy in the relationship between emotional exhaustion and knowledge hiding. For empirical investigation, the present study collected the data from 310 music learning students of various Chinese universities through a structured questionnaire method using a convenient sampling technique. This study applied partial least square structural equation modeling for empirical analyses using Smart PLS software. The findings of this study revealed that interpersonal distrust does not directly influence knowledge hiding; however, interpersonal distrust has a positive association with emotional exhaustion. The findings also acknowledged that emotional exhaustion positively correlates with knowledge hiding. The results also confirmed that emotional exhaustion positively mediates the relationship between interpersonal distrust and knowledge hiding. Further, the outcomes depicted that mental health self-efficacy negatively moderates the relationship between emotional exhaustion and knowledge hiding. In addition, this study’s findings also serve the literature of knowledge hiding by providing important theoretical and practical implications. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Leonard Tan and Mengchen Lu, “‘I Wish to Be Wordless’: Philosophizing Through the Chinese Guqin.”Chiao-Wei Liu“I wish to be wordless” connects Chinese philosophical thinking to music education at large. Through discussions of values associated with the Chinese instrument guqin, Leonard Tan and Mengchen Lu exemplified “how music serves as ‘Truth tool’ in the Chinese philosophical tradition.” Specifically, the authors explored four (...) ideas: “Search for Truth” (求真), “Search for Harmony” (求和), “Search for Ethical Awakening” (求覺), and “Search for Sagehood” (求聖). These ideas embody insights from three major Chinese philosophical traditions: Confucianism, Daoism, and Buddhism. Time prevents me from exploring the complex issues related to the interpretation and translation of classical Chinese texts, but I will attempt to focus on some of the authors’ arguments and how they relate to the practice of music learning and teaching in the classroom.1Quoting Confucius in their article title, Tan and Lu called attention to the suspicion of language found in the conversation between Confucius and his disciple. Extending the argument, the authors referred to Daoist philosophers and argued that although language can transmit wisdom, words remain limited in their ability to capture “the grand unity of the whole” and thus can “detract us [End Page 199] away from Truth.” Tan and Lu suggested that music, unlike language, serves as a truth “tool” and allows one to arrive at the Dao (Truth). Truth is conceived as a way of understanding the world, “a universal order, a new world perspective....” I agree with the authors about the limitations of language in capturing the complexity of human experiences, yet I am perplexed at how Truth is interpreted throughout the article.For example, in their discussion of “Search for Truth,” Tan and Lu related the art of playing the guqin to the Buddhist notion of mingxin jianxing (明心見性), clearing the heart-mind, seeing the inner-self, and locating Truth within the guqin player. Truth here is framed as good moral qualities residing within one’s innermost self (xing 性). Based on Li Zhi’s argument, Tan and Lu stated that “since a guqin player is all about her heart-mind and one’s music is all about the musician, music is the heart-mind of the musician.” Assuming that the heart-mind of the guqin player and the music are one, Tan and Lu suggested that when music and the musician’s innermost self are in sync, the musician may be able to attain spiritual Enlightenment. The example of Chopin’s Nocturne Op. 9, no. 1 helps readers learn that Truth does not reside within the performer or the music, but is located in the space where the two are in sync: “An ‘authentic’ performance of Chopin is one that is not only ‘true’ to Chopin and the stylistic conventions of his times, but also ‘true’ to the performer’s innermost being.”While Tan and Lu’s argument places Truth in both music and the innermost self (xing) of the performers, herein lies an assumption that qualities aligned with the music are ethically good, whereas those that differ are not. The search for Truth is thus a task of refusing any potential influence by “unethical thoughts” in order to stay true to the music. Recognizing the existing norms guiding various music traditions, I wonder how ethical and unethical thoughts are understood in music classrooms. As a music teacher, if unethical thoughts are interpreted as materials and expressions that are different or irrelevant to the music work, how do music teachers make sense of students’ feelings—whether they are the longing for a sense of belonging in the school ensemble or the desire to excel in certain aspects of school life? Are these feelings or desires “unethical” because they are separate from the musical work? If all acts dedicated to the faithful representation of the music work are considered ethical, how about the different needs of different students?Furthermore, in describing “Search for Ethical Awakening,” Tan and Lu stated that music written for the guqin is often associated with moral stories. Learning about the stories associated with music would be mandatory for performers to be morally and spiritually attuned to the composer. While I agree with the authors... (shrink)

Three experiments explored online recognition in a nonspeech domain, using a novel experimental paradigm. Adults learned to associate abstract shapes with particular melodies, and at test they identified a played melody’s associated shape. To implicitly measure recognition, visual fixations to the associated shape versus a distractor shape were measured as the melody played. Degree of similarity between associated melodies was varied to assess what types of pitch information adults use in recognition. Fixation and error data suggest that adults naturally recognize (...) music, like language, incrementally, computing matches to representations before melody offset, despite the fact that music, unlike language, provides no pressure to execute recognition rapidly. Further, adults use both absolute and relative pitch information in recognition. The implicit nature of the dependent measure should permit use with a range of populations to evaluate postulated developmental and evolutionary changes in pitch encoding. (shrink)

Chinese influence in Asia is complicated by many factors. There are those who argue that China's growing military and economic power make this influence an automatic threat, while others maintain that China's recent attempts at a mute this threat and have succeeded in creating a positive image for many of its regional neighbors. Drawing on survey data collected across 23 countries, we enter this debate by asking what individuals in and across Asia think about Chinese influence. Do they (...) see this influence as positive or negative? What factors at the individual and national levels most clearly shape their perceptions? Using multilevel statistical analysis, we find that Asian opinions of Chinese influence are on the whole quite positive and are influenced by a range of factors, including foreign policy interest, national identification, foreign contact, and recent military conflict. (shrink)

In Politics VIII, Aristotle contends that music has some influence over character and the soul. Nevertheless, it is not entirely clear what sort of influence music has. Does appropriate music cause someone to become virtuous, as Socrates seems to suggest? And if that is Aristotle’s claim, then is it noteasily refuted by examples of vicious lovers of excellent music, such as the Nazi soldiers who forced imprisoned Jewish musicians to perform Mozart concertos?But if appropriate music (...) is not the principal cause of moral virtue, what sort of formative role does Aristotle think it has? In this paper, I investigate what Aristotlesays about music and the formation of character. I argue that, according to Aristotle, music is a universal, instrumental cause of moral virtue. (shrink)

In “Flourish,” Martin Seligman maintained that the elements of well-being consist of “PERMA: positive emotion, engagement, relationships, meaning, and accomplishment.” Although the question of what constitutes human flourishing or psychological well-being has remained a topic of continued debate among scholars, it has recently been argued in the literature that a paradigmatic or prototypical case of human psychological well-being would largely manifest most or all of the aforementioned PERMA factors. Further, in “A Neuroscientific Perspective on Music Therapy,” Stefan Koelsch also (...) suggested that “Music therapy can have effects that improve the psychological and physiological health of individuals,” so it seems plausible that engaging in practices of music can positively contribute to one living a more optimally flourishing life with greater psychological well-being. However, recent studies on music practice and participation have not yet been reviewed and integrated under the PERMA framework from positive psychology to further explore and explicate this possibility. This article therefore contributes to extant work by reviewing recent research on psychological well-being and music to offer support for the claim that music practice and participation can positively contribute to one living a flourishing life by positively influencing their emotions, engagement, relationships, meaning, and accomplishment. (shrink)

Journal of Chinese Philosophy, EarlyView.

Given the rapid growth of music technology, this study reports Chinese pre-service music teachers’ perceptions of musical instrument learning assisted by augmented reality. In this study, we conducted a small-scale case study with six pre-service teachers enrolled in a music teacher training programme at a comprehensive university in China. Participants engaged in semi-structured, face-to-face interviews after hands-on experiences with an AR-based piano learning app. Thematic analysis revealed that the participants were generally aware of the potential of (...) this instructional approach but doubted its efficacy and exhibited weak intention to adopt it in their future classrooms. Implications of the findings for music teacher training are discussed. (shrink)

Background: The work engagement of police officers pertains to social stability and security, as well as to the orderly operation of the political-economic environment. Although there are many studies on work engagement at present, few studies focus on the influencing factors of police officers’ work engagement. According to the job demands-resources model and the conservation of resources theory, organizational job resources (e.g., perceived organizational support) and personal resources (e.g., regulatory emotional self-efficacy) are important factors influencing work engagement. We assume a (...) moderated mediation model in which job satisfaction plays a mediating role in the relationship between perceived organizational support and work engagement, regulatory emotional self-efficacy moderates not only the relationship between perceived organizational support and job satisfaction but also the relationship between job satisfaction and work engagement. Objective and Method: This study explores the drivers of work engagement through perceived organizational support and regulatory emotional self-efficacy among Chinese police officers using a convenient sampling method to administer a questionnaire to 744 Chinese police officers. A mediated model is proposed to investigate the mediating role of job satisfaction and the regulating role of regulatory emotional self-efficacy. Results: Job satisfaction mediated a positive relationship between organizational support and work engagement, and the perceived organizational support-job satisfaction and the job satisfaction-work engagement relationships were positively moderated by regulatory emotional self-efficacy, such that these relationships were stronger at higher levels of regulatory emotional self-efficacy. These findings, have a practical significance for Chinese police officers’ work engagement advancement. (shrink)

This article reviews some of the ways in which philosophical problems concerning music can be informed by approaches from the cognitive sciences (principally psychology and neuroscience). Focusing on the issues of musical expressiveness and the arousal of emotions by music, the key philosophical problems and their alternative solutions are outlined. There is room for optimism that while current experimental data does not always unambiguously satisfy philosophical scrutiny, it can potentially support one theory over another, and in some cases (...) allow us to synthesize or reject traditional philosophical differences. (shrink)

Resumo: Sendo um dos tesouros da cultura chinesa, a música tradicional chinesa tem carregado ricos pensamentos morais desde os tempos antigos. sendo uma parte importante do sistema de valores da cultura tradicional chinesa. No entanto, com o desenvolvimento da sociedade e a diversificação da cultura, o rápido ritmo social e a popularidade da música popular trouxeram grande impacto à música tradicional, que foi gradualmente esquecida devido ao seu abandono. Ao explorar a aplicação e o valor da música tradicional chinesa na (...) educação moral e no cultivo da virtude neste artigo, combinamos a cultura musical tradicional com os hábitos de vida dos residentes modernos, tais como educação, eventos sociais de grande escala, competições e festivais de música. Através da educação escolar e de atividades comunitárias regulares, buscamos fornecer novas ideias e experiências práticas para a herança e inovação da cultura tradicional. Através da integração dos meios de comunicação modernos e das formas de arte, o conceito moral da música tradicional está ligado à sociedade moderna, formando uma nova ecologia cultural mais moderna e inclusiva. Ao fazer uso dos ricos recursos de pensamento moral da música tradicional chinesa, mostramos que o seu papel e valor insubstituíveis na educação moral e no cultivo da virtude. (shrink)

Although environmental issues have attracted public attention, there are still many people unwilling to make behavioral changes to solve the problem, which makes promoting pro-environmental behavior become an interesting research topic. This study discusses the influence of air quality on the pro-environmental behavior of Chinese residents from the perspective of spatial distance, providing a theoretical basis and practical application for improving pro-environmental behavior. Through three experiments, this study reveals that air pollution within the local spatial distance could make residents (...) more willing to conduct pro-environmental behavior. In addition, we also find that air pollution within local spatial distance would stimulate residents’ environmental affection and promote them to conduct pro-environmental behavior. That is, environmental affection plays a mediating role in the interactive effect of air quality and spatial distance on pro-environmental behavior. (shrink)

The formation and development of any architectural form and system has its own historical and cultural background. The ancient Chinese architectural system has a long history and characteristics inseparable from the historical development of Chinese traditional philosophy. Chinese philosophy, as a theory of human self-consciousness, does not give knowledge, but mainly gives ideas and ways of thinking for the needs of human self-development; At the same time, ancient Chinese architecture became a physical object reflecting the idea (...) of traditional Chinese philosophy. Therefore, in order to explore ancient Chinese architecture, it is necessary to analyze and study it from the point of view of traditional Chinese philosophy. Like Confucius' thoughts on etiquette, the idea of the "doctrine of the middle" and the concept of hierarchical division; These ideas had a profound influence on ancient Chinese architecture, including urban planning, traditional dwellings, the environment, Lao Tzu's desire for harmony and unity between man and nature, worship of the gods, etc., as well as the theory that emerged later "Feng Shui", etc. temple space and garden architecture in the south of the Yangtze River. This article is devoted to the analysis of the influence of Confucianism and Taoism on the general principle of designing spaces of ancient Chinese architecture. The article selects some typical examples of ancient Chinese architecture for analysis. The following principles are manifested in the design of spaces of Chinese architecture under the influence of Confucianism and Taoism: moderation of living space; the principle of symmetry, balance and coordination; architectural hierarchy formed on the basis of the needs of "rituals"; integration of architecture and the environment; design of spaces according to "Feng Shui". (shrink)

Philosophy is the soul of art, and art is great because of philosophy. All kinds of philosophical thoughts seep into artists' minds like water flooding the beach, affecting their world outlook and outlook on life, and providing theoretical guidance for their artistic creation from aesthetic thoughts to creative methods. Beethoven used musical language to express the deepest worries in the hearts of the advanced people of his time. This paper attempts to explore the internal development law of art philosophy from (...) the perspectives of the orientation of art philosophy, the aesthetic construction of "meaningful form" and "poetic dwelling" of art philosophy, the thinking of the final conclusion of art philosophy, the development destination of art philosophy, and the integration and development. In the long history of art development, the form and function of art are constantly changing. Philosophy provides a continuous source of creative ideas for art and works of art often show profound philosophical views. Kant's lofty aesthetic concept affects the infinite emotional capacity in Beethoven's music. However, the expression of the ubiquitous contradictions and conflicts in Beethoven's music is also deeply influenced by Kant's view of nature. In Beethoven's view, the development of the universe is similar to a person's mental journey, and its essence is also a large symphony or sonata. (shrink)

Whereas in the past ‘free’ and ‘illegal’ were nearly synonymous in the music industry, consumers nowadays face a myriad of music platforms with widely different characteristics in terms of business model (advertising supported, fee based, etc.), delivery mode (streaming, downloading, etc.), and others. The current research examines music consumption preferences in this new context. In order to break with the outmoded free-illegal versus paid-legal dichotomy, the present research studies consumer preferences for a broader range of music (...) platform attributes, including free versus paying business models, (il)legality of use, artist revenues, downloading versus streaming, and audio quality. Based on a literature review and a qualitative study with in-depth interviews (N = 92), an online conjoint survey (N = 764) quantifies online music preferences. Results show that consumers of all ages clearly and consistently prefer legal and ethical options if available, but favor different ways of making this economically viable. Youngsters and young adults are more open to advertising, while middle-aged adults are more often willing to pay for advertising-free platforms. Thus, in real-life choices, youngsters may appear to be less ethical and law abiding, but the driving force behind this is mainly economical. Finally, a market segmentation provides deeper insights into online music consumer preferences and leads to recommendations on how to define viable legal and ethical music offerings. (shrink)

Researchers have suggested that ethical judgments about “right” and “wrong” are the result of deep and thoughtful principles and should therefore be consistent and not influenced by factors, such as language :e94842, 2014b, p. 1). As long as an ethical scenario is understood, individuals’ resolution should not depend on whether the ethical scenario is presented in their native language or in a foreign language. Given the forces of globalization and international convergence, an increasing number of accountants and accounting students are (...) becoming proficient in more than one language, and they are required to interpret and apply complex ethical pronouncements issued by various global standard setters both in their native language and in English. There have been calls in the literature to examine whether subjects make systematically different ethical judgments in a foreign language than in their native language. We contribute to the literature by drawing on culture, linguistics, and psychology research to provide empirical evidence that Chinese subjects are more aggressive in interpreting the concept of control when providing their consolidation reporting recommendations in English than in Simplified Chinese. We applied a 2 × 2 within-subject and between-subject randomized experimental design using a sample of Chinese final year undergraduate accounting students at a leading Chinese university, where accounting courses are taught in both Simplified Chinese and English. Students in our study are proxy for entry-level accounting practitioners. Our findings have implications for the globalized business world and cross-cultural research by challenging the commonly held assumption that an individual’s ethical judgment is consistent in different languages. We suggest that systematically different ethical judgments in native and foreign languages needs to be recognized. (shrink)

Inspired by Max Weber's thesis on the Protestant ethic, this volume sets out to understand the role and influence of Christianity on overseas Chinese entrepreneurs working in China during its transition from a centrally-planned economy ...

Congenital amusia in its most common form is a disorder characterized by a musical pitch processing deficit. Although pitch is involved in conveying emotion in music, the implications for pitch deficits on musical emotion judgements is still under debate. Relatedly, both limited and spared musical emotion recognition was reported in amusia in conditions where emotion cues were not determined by musical mode or dissonance. Additionally, assumed links between musical abilities and visuo-spatial attention processes need further investigation in congenital amusics. (...) Hence, we here test to what extent musical emotions can influence attentional performance. Fifteen congenital amusic adults and fifteen healthy controls matched for age and education were assessed in three attentional conditions: executive control, alerting, and orienting while music expressing either joy, tenderness, sadness, or tension was presented. Visual target detection was in the normal range for both accuracy and response times in the amusic relative to the control participants. Moreover, in both groups, music exposure produced facilitating effects on selective attention that appeared to be driven by the arousal dimension of musical emotional content, with faster correct target detection during joyful compared to sad music. These findings corroborate the idea that pitch processing deficits related to congenital amusia do not impede other cognitive domains, particularly visual attention. Furthermore, our study uncovers an intact influence of music and its emotional content on the attentional abilities of amusic individuals. The results highlight the domain-selectivity of the pitch disorder in congenital amusia, which largely spares the development of visual attention and affective systems. (shrink)

The Xing Zi Ming Chu 性自命出 presents a distinctive account of human dispositions that centers on the spontaneous arising of affects like joy and sadness. This focus on emotion grounds a particular conception of the function of music and ritual that gives music a central role in self-cultivation. Although the account of human dispositions in XZMC was ultimately overshadowed by the opposing views of Mengzi 孟子 and Xunzi 荀子 and the question of whether our dispositions are good or (...) bad, its views remained central for Ru 儒 philosophy of music. The first three parts of the essay trace the development of the ideas appearing in XZMC through the “Discourse on Music” chapter of the Xunzi and parts of the Yueji 樂記. The fourth section highlights the distinctiveness of XZMC’s account through a contrast with the views of Mengzi and Xunzi. The essay concludes by examining the ways in which, in accounting for ritual and music, both the Mengzi and Xunzi employ views like those of the XZMC, even if those are in tension with their core philosophical theories. (shrink)

This study analyses the influence and infection of traditional Chinese culture, starting from the cultural influence of ancient Chinese poetry and literature, and explores the impact and healing effect of traditional Chinese poetry and literature on college students’ psychological anxiety. Combining with traditional Chinese culture, it proposes intervention and treatment strategies for college students’ psychological anxiety. Through volunteer recruitment, 100 college students were recruited for comparative experiments, and the subjects were divided into an experimental group and (...) a control group. The experimental group participants regularly participate in Chinese ancient poetry and literature appreciation courses during the experimental period, and form an ancient poetry and literature learning group for discussion and learning. Research has found that psychological anxiety is a common psychological problem among contemporary college students, with most of them experiencing varying degrees of psychological anxiety. After the experiment, the number of patients with severe anxiety disorder decreased by 64.21%, while the number of patients with moderate anxiety disorder decreased by 57.36%. Under the artistic influence of traditional Chinese culture, the anxiety state of students with mental anxiety has been significantly improved, and the overall satisfaction score of students with treatment intervention plans is relatively high. Contribution: This study uses the profound historical heritage of Chinese ancient poetry and literature to help contemporary college students adjust their psychological state and reach the psychological adjustment under the infection of Chinese tradition culture. During the learning and appreciation of Chinese ancient poetry, literature and culture, students can comprehend the literature advancement in Chinese society, also influenced by the excellent traditional Chinese culture, for enhancing the humanistic quality and mental health level. The results of this study can be utilised by scholars in the field of the psychology of religion and public theology. (shrink)

Many studies have linked idealized body image on social media to negative psychological well-being among young females. However, social media influencers’ imagery has not attracted much research attention in either the Western or the Asian context. This study aimed to experimentally investigate the impact of high versus low popular social media influencer images on young Chinese females’ body satisfaction and mood. The participants were 420 female RED users who were randomly assigned to three groups: the influencer-high group ; the (...) influencer-low group ; or a control set of nature images. The results revealed that the groups exposed to influencer imagery had lower body satisfaction and more negative mood than the control group. Notably, this comparison showed no significant difference between the low-influencer and high-influencer groups in body satisfaction and mood. Additionally, this effect was moderated by individuals’ self-discrepancy between personal ideals and their own bodies. That is, exposure to idealized body images does not always produce harmful effects. For those with lower self-discrepancy, idealized body posts somewhat positively affected their body satisfaction. The current research contributes to the media effect literature by providing critical new insights into the study of body image in the context of China. (shrink)

This chapter aims at pointing out the consistency of Islam as a source for empowerment strategies of the Black population in the United States and the religion’s effective reinterpretation as a sort of contemporary gnostic self-realization in Hip Hop culture. Moreover, the link between hybrid identity constructions of Hip Hop artists that borrow from religious and cultural sources of Islam and corresponding traditions of spiritual realization in mystical Islam and Sufism is demonstrated in the course of the discussion.

This study describes a preliminary test of the hypothesis that, when people engage in musical and linguistic activities designed to enhance the interactive, turn-taking properties of typical conversation, they benefit in ways that enhance empathy and self-esteem, relative to people who experience activities that are similar except that synchronous action is emphasized, with no interactional turn-taking. Twenty-two 12–14 year olds identified as socially vulnerable received six enjoyable 1-h sessions of musical improvisation, language games that developed sensitivity to linguistic rhythm and (...) melody, and cross-over activities like rap. The Turn-taking group, practiced characteristics of conversation in language games, and these were also introduced into musical activities. This involved much turn-taking and predicting what others would do. A matched control group, the Synchrony group, did similar activities but in synchrony, with less prediction and no turn-taking. Task complexity increased over the six sessions. Psychometric testing before and after the series showed that the Turn-taking group increased in empathy on self-report and behavioral measures, and in the General subtest of the Culture-Free Self-Esteem Inventory. While more work is needed to confirm the conclusions for relevant demographic groups, the current results point to the social value of musical and linguistic activities that mimic entrained, tightly coordinated parameters of everyday conversational interaction, in which, at any one time, individuals act as equal participants who have different roles. (shrink)