Comment on “Embodiment and inspiration of Chinese philosophy of life in traditional music education”Hu (2024) presents a thorough and multifaceted discussion of the interrelationship between Chinese philosophy of life and traditional music education, placing particular emphasis on the principles of harmony, qi, and imagery, as well as the ideal of the unity of heaven and man. It seeks to bridge a conceptual gap in the reflection on life philosophy as an active, integral part of music pedagogy, not only in shaping techniques but also in cultivating aesthetic sensibilities and moral values. Although its scope is broad, in places it would be possible to enrich this with additional history, critical discussion, and allusions to characteristic philosophical and educational research.
Among its better criticisms is an appreciation of Western Scientism’s effect upon modern Chinese studies in music (Hu, 2024). It rightly condemns patchwork, analytical writing-pulling rhythm out of one piece, structure out of another-with no synthesis of those bits within a larger cultural and philosophical totality. This separation of integrated development from technical mastery mirrors earlier academic complaints about music losing its moral and aesthetic purpose when its development becomes its overriding orientation. The appeal of yoking music studies back to everyday life repeats that classical ideal of developing character, not just of producing technically adept interpreters.
That said, the argument could go further in connecting to the historical role of values in Chinese music instruction. Scholars such as Ho and Law (2007) have shown that Chinese music education has long been influenced by the interplay of philosophical ideals, political goals, and social aims. The discussion of harmony, for example, frames it mainly as an artistic and personal ideal, but in history it also served as a political metaphor-at once guiding personal ethics and reinforcing social order. Recognizing this dual nature could provide a richer understanding of how such concepts work in education: sometimes fostering individuality, other times maintaining conformity.
The section on qi is persuasive but comparatively underdeveloped. In Chinese thought, qi denotes more than the emotional intensity of a performance; it is a universal vital force that mediates between the human and natural realms. In this broadened definition, its teaching significance changes: qi development in music isn’t just about emotional expressivity; it’s about aligning the student’s interiority with universal rhythms. This would correspond to Confucian issues in Analects (Roger; Rosemont, 1999), where music deals with instilling individual flair and state order with harmony. Defining qi this way would be to uncover how development connects technique with moral and existential ground.
Imagery is rightly introduced as an important mediator between culture and music. In classical Chinese aesthetics, imagery is a declaration of values and philosophical comprehension, not adornment. Hu (2024) identifies it as symbolic meaning, but it would be productive to further cultivate how students do, in fact, absorb and reinterpret images. In literati culture, imagery was a thinking process-in correlating sensory experience and moral reflection, and tangible description and intangible ideals. Including this within modern classrooms would advance the relationship between aesthetic experience and philosophical thought.
This ideal of combining heaven and humankind is well within philosophical tradition, yet it requires a modern, innovative reinterpretation. As Wang et al. (2024) argue, original ideals must be reinterpreted to remain relevant in a globally interlinked, digital, and rapidly changing world. Recasting the unity of heaven and man as a pedagogical framework allows music to foster ecological awareness, cross-cultural competence, and international moral responsibility, thereby bridging time-honored wisdom with contemporary educational imperatives.
Another strength is that conversationistic interaction between student and teacher is highlighted (Hu, 2024). But once more, problems are not simply a function of teaching style. Systemic concerns-inflexible curricula, testing requirements, limited resources-can control how much genuine conversation is possible. A discussion of these practical boundaries would help further anchor the argument.
Lastly, the exploration of integrating classical music with contemporary genres and digital media is opportune (Hu, 2024). Students today frequently encounter music via screens and digital interfaces, which fosters velocity, spectacle, and commercialism to the neglect of depth. The challenge is to preserve the ideals of harmony, qi, and imagery in these fluid digital realms without abbreviating them to gauzy visual or stylistic fabulations.
In sum, Hu (2024) offers a valuable contribution to the movement to place Chinese philosophical thought back at the heart of music education. Its focus on integrating life philosophy into teaching is both urgent and relevant in an age of cultural change and educational globalization. To reach its full potential, the approach could be enriched with deeper historical-political awareness, expanded metaphysical discussion, updated interpretations, and a frank look at institutional realities. By deepening its roots in Chinese classical tradition and experience in modern education, it’s conceivable to envisage an embodied music teaching that is not merely transmitting skills, but building complete human beings-morally, aesthetically, philosophically. In this way, the approach sustains traditional values while evolving to address both present and future needs.
References
- HO, W.C.; LAW, W. W. Values, music and education in China. Music Education Research, v. 6, n. 2, p. 149-167, 2007.
-
HU, J. Embodiment and inspiration of Chinese philosophy of life in traditional music education. Trans/Form/Ação: Unesp journal of philosophy, Marília, SP, v. 47, n. 5, p. e02400152, 2024. Available at: https://revistas.marilia.unesp.br/index.php/transformacao/article/view/15092
» https://revistas.marilia.unesp.br/index.php/transformacao/article/view/15092 - ROGER, T. A.; ROSEMONT, J. H. The Analects of Confucius: a philosophical translation. New York: Ballantine Books, 1999.
- WANG, Y. H.; GUO, X. L.; DOU, H. M. Progress and development of the philosophy of music education in China since the twentieth century. In C. V. Fung & L. Tan (Eds.), The Oxford Handbook of Asian Philosophies in Music Education. Britain: Oxford University Press, 2024.
-
Data availability statement:
The dataset for this article is available in the SciELO Dataverse of the Trans/Form/Ação Journal, at the link: https://doi.org/10.1590/0101-3173.2025.v48.n6.e025158
The dataset for this article is available in the SciELO Dataverse of the Trans/Form/Ação Journal, at the link: https://doi.org/10.1590/0101-3173.2025.v48.n6.e025158
