Asia Pacific Journal of Religions and Cultures

TEACHING INNOVATION AND CULTURAL INHERITANCE THROUGH RUAN CHAMBER MUSIC PERFORMANCE

Li Na — 2026-06-30

This article investigates how Ruan chamber music serves as a medium for teaching innovation and cultural inheritance in contemporary music education. It emphasizes the educational value of appreciating and performing Ruan chamber works across various styles—from traditional to modern and adapted Western compositions. By examining rehearsal strategies, ensemble coordination, artistic expression, and the integration of sight-singing and ear-training, the study highlights the multifaceted approach required for effective Ruan chamber music teaching. The article also explores the creation and adaptation of Ruan works as a method for expanding the repertoire and fostering creativity among students. Artistic practice is positioned as a crucial component for skill development, cultural understanding, and ensemble cooperation. Through comprehensive teaching methods that include appreciation, performance, creation, and interdisciplinary integration, Ruan chamber music education promotes both musical excellence and the preservation of Chinese traditional culture in modern society.

TABOOS, VIOLATIONS AND PUNISHMENT AMONG THE URHOBO PEOPLE OF NIGERIA

Anthony Uviekovo — 2026-06-30

As a result of modernization, what constitutes a Taboo in Urhobo is getting thinner by the day. A taboo is social or religious custom prohibiting or restricting a particular practice or forbidding association with a particular person, place, or thing. The aim of this chapter is to explore some of the taboos, violations, and punishment among the Urhobo people of Delta State. The descriptive and analytical methods are adopted to achieve the aim of the research. The findings show that many taboos exist in Urhobo, however some of them are being violated as a result of factors like modernization, religion and acculturation. The chapter concludes that Taboos, are still being practiced among the Urhobos, and in cases of violations, there are consequences. The chapter recommends enlightenment on culture by families, social cultural groups, and traditional institutions as a way forward.

INTEGRATING YUNNAN FOLK SONGS INTO PRIMARY MUSIC EDUCATION IN KUNMING THROUGH CULTURAL INHERITANCE AND PEDAGOGICAL INNOVATION

Lu Yinye — 2026-06-30

This article explores how Yunnan folk songs have been integrated into primary school music education in Kunming as a means of cultural inheritance and pedagogical innovation. Drawing from the region’s diverse ethnic musical heritage, this research examines the historical background, policy support, educational practices, and social significance of folk song inclusion in the classroom. The study highlights how schools adopt local melodies, dialects, and performance traditions while employing interdisciplinary approaches and modern technologies such as VR and AI to revitalize interest and participation. It also discusses how folk songs are transformed from traditional forms into effective tools for aesthetic education, identity formation, and cultural awareness among young learners. Despite the promising developments, challenges remain in terms of teaching resources, evaluation systems, and professional training. The study concludes by emphasizing the need for sustained support, resource integration, and creative pedagogy to ensure that Yunnan folk music continues to thrive in the evolving educational landscape.

INNOVATIVE REFORM AND DEVELOPMENT OF COLLEGE VOCAL MUSIC EDUCATION

Zhang Junfu — 2026-06-30

This article explores the current challenges and innovative reform strategies in college vocal music education in China, with a focus on aligning pedagogical practices with contemporary cultural, educational, and artistic needs. While traditional vocal instruction in Chinese higher education has emphasized technical skill development, many programs lack flexibility, cultural awareness, and student-centered approaches. Drawing from surveys, interviews, and curriculum analysis, this research identifies key issues such as outdated teaching models, limited practical application, insufficient integration of cultural context, and inadequate infrastructure. The findings highlight the importance of embedding Chinese and global musical cultures into vocal pedagogy to enrich students’ artistic expression and deepen their understanding of music’s cultural dimensions. Recommendations include diversifying curriculum design, promoting individualized instruction, enhancing teaching facilities, and fostering cultural literacy through repertoire selection and interdisciplinary collaboration. By integrating cultural consciousness into innovative reform, this study aims to contribute to the development of a more holistic, relevant, and dynamic vocal music education system in Chinese colleges and universities.

INTEGRATING TRADITIONAL CULTURE AND MODERN EXPRESSION IN THE NATIONAL OPERA YIMENGSHAN

Yang Xin — 2026-06-30

This article explores the integration of traditional Chinese cultural elements with modern artistic expression in the national opera Yimeng Mountain. Through detailed analysis of musical structure, character development, and stage design, the research illustrates how the opera honors folk traditions while advancing contemporary operatic innovation. The characters, particularly the female protagonist, are portrayed with emotional depth and symbolic richness, highlighting the opera’s emphasis on humanistic values alongside historical narrative. The study also examines the application of the “music-first” creative approach, emphasizing how melody, orchestration, and vocal techniques reflect both regional characteristics and national artistic trends. By synthesizing revolutionary themes with refined artistic methods, Yimeng Mountain stands as a significant work that reflects the evolving identity of Chinese national opera in the 21st century.

BRIDGING TRADITION AND PEDAGOGY IN HAN FOLK SONG EDUCATION FOR INTERMEDIATE-LEVEL LEARNERS

Han Rong — 2026-06-30

Han folk music, rooted in centuries of cultural practice, embodies the lived experiences, philosophical ideals, and regional aesthetics of the Han ethnic majority. This article explores the historical evolution, cultural connotations, and artistic characteristics of Han folk songs as a foundation for developing structured teaching resources at the intermediate level. By critically reviewing existing literature and educational theory, the article identifies key gaps in current pedagogy—particularly the scarcity of practice-oriented exercise books tailored to learners beyond the beginner stage. Drawing from music education, ethnomusicology, and cultural inheritance frameworks, the article proposes a pedagogical model for compiling intermediate-level exercise materials that integrate vocal technique, cultural context, and regional style. The study advocates for a more comprehensive approach to Han folk song education one that balances tradition with innovation and meets the evolving needs of contemporary music learners.

CHINESE ART SONGS IN THE TWENTIETH CENTURY AS CULTURAL TOOLS FOR NATIONAL EDUCATION AND EXPRESSION

Chen Xuying — 2026-06-30

This article investigates the artistic evolution and cultural function of Chinese art songs in the twentieth century, emphasizing their role as instruments of national education and emotional expression. As China experienced significant social and political changes—from the fall of the Qing Dynasty to the rise of the People's Republic and the Cultural Revolution—Chinese art songs emerged as a unique fusion of traditional Chinese music and Western classical elements. These songs not only reflected the nation's historical and ideological transitions but also served as effective tools for cultivating patriotism, promoting cultural heritage, and fostering collective identity. The research further explores the integration of art songs into middle school curricula during the mid-1900s, where they became central to teaching national history, moral values, and cultural pride. Through an analysis of musical characteristics, lyrical themes, pedagogical practices, and historical context, this paper highlights how Chinese art songs became powerful cultural assets that bridged artistic innovation and educational objectives.

PIANO ACCOMPANIMENT TECHNIQUES IN HUBEI FOLK SONGS REFLECTING REGIONAL AND CROSS-CULTURAL MUSICAL VALUES

You Cheng — 2026-06-30

This article investigates the stylistic characteristics and performance techniques of piano accompaniment in Hubei folk songs, emphasizing their regional identity and adaptability within broader cultural frameworks. By analyzing various genres such as mountain songs, work chants, and lyrical tunes, the research highlights how piano accompaniment not only preserves the distinctive musical traits of central Chinese folk traditions but also integrates expressive tools drawn from both classical and contemporary pianism. The article explores key techniques including the use of preludes and codas, creation of secondary melodies, ornamentation, and dynamic control, demonstrating how these elements contribute to a collaborative and expressive musical image. In addition, it examines how improvisational skills allow accompanists to respond sensitively to vocal nuances, thus enabling cross-cultural application and appreciation. It suggests that piano accompaniment of Hubei folk songs can serve as a model for intercultural music education and performance practice, fostering a deeper understanding of how regional traditions can be creatively expressed in diverse musical contexts.

YU OPERA AND THE PIANO AS CULTURAL DIALOGUE BETWEEN TRADITION AND MODERNITY IN CHINESE MUSIC

Wang Wenjie — 2026-06-30

This article explores how Yu Opera, a representative form of traditional Chinese theatre, is reinterpreted through piano compositions as a means of cultural dialogue between tradition and modernity. By tracing the historical evolution of Chinese piano music across four key periods—from early nationalistic attempts to the flourishing innovations post-reform and opening-up—the research highlights how composers have integrated the vocal colors, tonal language, and rhythmic patterns of Yu Opera into Western pianistic frameworks. Drawing on key works by Chen Yi, Ma Shuhao, Zhu Xiaoyu, and others, this paper examines how Yu Opera elements such as Bangzi rhythms, Henan dialect tone inflections, and expressive melodic lines are translated into piano idioms without compromising their regional integrity. This synthesis not only enriches the expressive palette of the piano but also serves as a powerful method of preserving and revitalizing local operatic heritage. Through this process, the piano becomes a cultural bridge, fostering a dynamic interplay between historical identity and contemporary innovation in Chinese music.

JINGHU: ROLES AND FUNCTION IN BEIJING OPERA

Shi Shaoshuo — 2026-06-30

Jinghu, a traditional string instrument, within the context of Beijing Opera, highlights its integral place in Chinese arts, culture, and traditions. By examining how the Jinghu reflects the performers’ beliefs and expresses themes rooted in historical narratives and religions, the study sheds light on its cultural significance and dramatic impact. Deeply embedded in the spiritual and philosophical foundations of Chinese society, Jinghu--through its role in Beijing Opera—embodies Confucian values of loyalty, righteousness, and filial piety, as well as Daoist and Buddhist concepts such as harmony with nature, karma, and the impermanence of life. The musical narratives performed with Jinghu often dramatize moral dilemmas, divine interventions, and historical legends, allowing the instrument to act as a spiritual bridge between past and present, between mortals and the divine. It is not merely an artistic tool, but a cultural voice that resonates with the collective consciousness of the Chinese people, carrying forward their reverence for tradition and the sacred. Jinghu is the core instrument of Beijing Opera accompaniment, playing a dual role in both artistic expression and structural support in opera performance. Its high-pitched and bright timbre characteristics have constructed the iconic auditory symbols of Peking Opera music, serving as a key link between singing, performance, and music through multiple functions such as tone preservation, emotional rendering, and rhythm control. In terms of artistic expression, Jinghu uses rich performance techniques to simulate the human voice and enhance dramatic tension. In terms of structure and function, it not only standardizes the vocal style, but also coordinates the stage rhythm, while shaping the characteristics of the profession through differentiated timbre processing. The high integration of instrumental music and human voice in Jinghu transcends the scope of ordinary accompaniment instruments, adhering to traditional norms while promoting artistic innovation. It has become an indispensable subject of expression and carrier of inheritance in the music system of Peking Opera, demonstrating the unique aesthetic pursuit of Chinese traditional opera music of "performing with music."

CULTURAL CONTINUITY AND INNOVATION IN MONGOLIAN MUSIC AND DANCE PRACTICES

Wu Zhouhao — 2026-06-30

This article explores the historical development, cultural significance, and contemporary transformations of Mongolian music and dance, focusing on how these art forms reflect both continuity and innovation. Rooted in the nomadic lifestyle and northern grassland culture, Mongolian music and dance have served as vital expressions of identity, emotion, and social life. The research analyzes long and short folk tunes, instrumental traditions like the horse-head fiddle, and dance forms such as the Andai, Chopstick, and Chama dances. Through literature review and cultural analysis, the study reveals how Mongolian artistic traditions have evolved while maintaining their cultural essence. In modern contexts, Mongolian music and dance continue to adapt through fusion with pop and Western styles, stage choreography, and institutional preservation efforts. This dual process of inheritance and innovation underscores the resilience and relevance of Mongolian cultural heritage in a rapidly changing world.

CULTURAL BLENDING AND MUSICAL IDENTITY IN HUI AND YI COMMUNITIES OF XUNDIAN

Li Ziyun — 2026-06-30

This article investigates the development, transformation, and cultural significance of minority music within the Hui and Yi communities in Xundian, Yunnan. Through historical tracing, field analysis, and musical structure examination, the study reveals how cultural blending has shaped the unique musical identity of these ethnic groups. Hui music in Xundian has evolved from early interactions with Arab and Persian musical traditions, integrating Han elements and modern influences to form a distinct hybrid style. Meanwhile, Yi music maintains strong ties to agricultural rituals, folklore, and religious practices, while gradually incorporating contemporary themes and rhythmic innovations. The research also explores how lyrics express deep cultural meanings, including farming traditions, love, religious devotion, and commercial life. Furthermore, the study examines the theoretical and practical aspects of adapting ethnic music for modern contexts, emphasizing the importance of retaining traditional elements while introducing innovative harmony, rhythm, and instrumentation. A case study of Tan Weiwei's adaptation of Mongolian music further demonstrates how ethnic music can resonate in popular media. This study contributes to the preservation and revitalization of ethnic minority music by offering a model for respectful cultural innovation rooted in heritage.

STRATEGIES FOR IMPROVING THE QUALITY OF LIFE FOR ELDERLY INDIVIDUALS

Gu Yimeng — 2026-06-30

This paper explores the urgent issue of how to effectively improve the quality of life for elderly individuals, particularly in rural areas of China, against the backdrop of an aging society. Focusing on Quzi Town in Gansu Province, a rural area in western China, the paper aims to provide strategic recommendations for enhancing the quality of life for elderly individuals in this region and, by extension, in broader rural China through empirical research. The article begins with a systematic review of domestic and international studies on improving the quality of life for elderly individuals, establishing a theoretical foundation that supports subsequent analyses and strategy formulation. Building on this foundation, in-depth interviews were conducted with some elderly residents of Quzi Town to gather firsthand data on their current quality of life and needs, providing empirical evidence for the study. The research findings suggest that various resources and strengths, including those from the government, community, family, and individuals, can be leveraged to improve the quality of life for the elderly in rural China. The paper introduces (1) the procedures and methods for enhancing the quality of life for the elderly and (2) specific strategies for improving the quality of life for elderly individuals in Quzi Town, Gansu Province, China.

MULTIMODAL PIANO TEACHING IN CHINA NAVIGATING TECHNOLOGICAL TOOLS AND TRADITIONAL VALUES

Teng Yinmeng — 2026-06-30

This article investigates the development of multimodal piano teaching in Chinese higher education, focusing on the integration of online, offline, and hybrid pedagogical approaches. It analyzes how technological tools—such as AI-assisted platforms, virtual reality, and intelligent evaluation systems—reshape piano instruction, while also addressing the enduring value of traditional teacher-student interaction and cultural transmission. Drawing on a wide body of literature, including empirical studies from leading Chinese institutions, the research identifies both strengths and limitations in current teaching models. It highlights gaps in longitudinal learner tracking, ethical concerns regarding screen dependency, and regional inequalities in digital access. The role of faculty is also examined, revealing that teacher expertise, innovation capacity, and digital literacy are critical to successful integration. The study concludes that a balanced model, grounded in both technological advancement and traditional pedagogical philosophy, is key to ensuring sustainable, culturally rooted piano education in the digital age.

INTEGRATING CHINESE TRADITIONAL MUSIC CULTURE INTO PIANO TEACHING FOR EDUCATIONAL REFORM AND CULTURAL CONFIDENCE

Chong Chenyan — 2026-06-30

This article explores the necessity and feasibility of integrating Chinese traditional music culture into piano teaching as a pathway to enhance educational reform and cultural confidence in China. Historically rooted in Western pedagogy, piano education in China has long emphasized classical European repertoire while neglecting the rich resources of Chinese musical heritage. In response to increasing societal emphasis on cultural identity and national pride, integrating traditional Chinese music into piano instruction not only promotes the inheritance of cultural values but also enriches musical diversity and stimulates creative expression. This integration enhances student engagement, expands aesthetic awareness, and cultivates pianists with deeper cultural roots. The article further analyzes historical developments in Chinese piano teaching materials from early missionary-led education to modern localized and diversified curriculum designs. Practical implementation strategies are examined, including teacher training, curriculum development, textbook revision, and social support mechanisms. By bridging Western musical form with Chinese cultural content, piano education becomes a powerful tool for fostering well-rounded, culturally confident musicians and supports the sustainable development of music education in contemporary China.

PRESERVING REGIONAL CULTURE THROUGH SONG THE TEACHING AND INTERPRETATION OF ZHENGZHOU FOLK SONGS FOR CHILDREN

Tao Ruoxue — 2026-06-30

This article explores the cultural and educational significance of Zhengzhou folk songs in children's vocal training, emphasizing their role in preserving regional identity while nurturing musical expression. Rooted in the agricultural and social traditions of the Central Plains, Zhengzhou folk songs embody distinct melodic, rhythmic, and dialectal characteristics that reflect the life, emotions, and values of local communities. The research examines the historical origins, musical features, and lyrical content of these songs, while also presenting child-friendly teaching methods, including breath control, vocalization, dialect training, and performance techniques. By integrating playful learning strategies with regional authenticity, the teaching of Zhengzhou folk songs not only cultivates children's musical skills but also strengthens their connection to cultural heritage. This dual function of artistic education and cultural transmission makes folk songs a powerful pedagogical tool in modern music education.

CONSTRUCTING DAUR FOLK SONGS GUIDEBOOK FOR THIRD YEAR VOCAL STUDENTS AT QIQIHAR UNIVERSITY, HEILONGJIANG PROVINCE, CHINA

๋Jiang Fukuo — 2026-06-30

Daur folk songs, deeply rooted in the cultural traditions, beliefs, and spiritual practices of the Daur ethnic group, serve as a vital medium for preserving their heritage and identity. This research aims to construct a guidebook that enables third-year vocal students at Qiqihar University to explore and interpret these songs authentically, fostering a deeper understanding of the Daur people's cultural and religious expressions. The purpose of this dissertation is: (1) To study Daur folk songs. (2) To construct the Daur Folk Songs Guidebook. (3) To use Daur Folk Songs musical repertoire guidebook for teaching third-year student. (4) To evaluate the teaching result of guidebook. This dissertation adopted a mixed research method, qualitative research and quantitative research, and selected 10 students from third-year students at Vocal Performance major at Qiqihar University as experimental subjects to conduct a teaching experiment of Daur Folk Songs. The researcher used qualitative research methods to interview key informants, observing the learning status of third-year students at Qiqihar University. During the development phase, quantitative analysis methods describe the experimental design and statistically analyze the conclusions. This article analyzes the effect of students using the Daur Folk Songs Guidebook through three formative tests and summative tests. The results of the study show that: (1) Through the study and interview of Daur Folk Songs key informants, 6 Daur Folk Songs repertoire suitable for freshmen were selected, and by reading the relevant literature of Daur Folk Songs, a teaching guide combining theory and teaching was developed. (2) The evaluation score of the "Daur Folk Songs Guidebook" was 0.84>0.50. key informants believe that the design and implementation of the "Daur Folk Songs Guidebook" is very reliable, reasonable and comprehensive, and meets the requirements of the "Teaching Guide Manual", and can be used as a reference for students to learn Daur Folk Songs. (3) Through three formative test scores and the final summative test scores, from the third formative test score of 10 students all got C, to the summative test score of 10 students all got above B. The results show that this book has a good guiding role in improving students' ability to learn Daur Folk Songs singing, and also proves that students' interest in learning Daur Folk Songs is increasing. (4) In general, by compiling this guidebook, we have provided valuable teaching resources for university music educators and students, and have also made positive contributions to the inheritance and development of Daur Folk Songs. The researchers hope that this guidebook can help students understand the artistic charm of Daur Folk Songs and better inherit and carry forward this intangible cultural heritage.

RESEARCH ON THE DESIGN GUIDELINES FOR TOURISM SOUVENIRS BASED ON THE CULTURAL SYMBOLS OF FOSHAN LION DANCE IN GUANGDONG, CHINA

Min Lin — 2026-06-30

This study explores design proposals for incorporating the symbolic elements of Foshan lion dance, an intangible cultural heritage of the Lingnan region in China, into modern tourism souvenir design. Foshan lion dance is a traditional folk art from Foshan, Guangdong Province, and an integral part of Lingnan culture. Originating during the Ming and Qing dynasties, it is closely associated with local martial arts culture. Beyond being a form of entertainment, it also carries cultural significance, symbolizing the dispelling of evil, disaster prevention, and the pursuit of blessings and prosperity, while showcasing unique artistic charm. Based on this, many souvenirs have been derived using the image of Foshan lion dance as a prototype. However, existing lion dance-themed souvenirs face issues such as limited design variety, lack of innovation, and a small market scale, failing to effectively meet the personalized needs of modern consumers. Based on this, this study utilizes preliminary research, field observation, and interviews, combined with a questionnaire survey, to analyze the history, artistic characteristics, and cultural connotations of Foshan lion dance while extracting its design elements. By integrating qualitative and quantitative research methods, the study explores the symbolic representation of Foshan lion dance culture, analyzes the preferences of young consumers, and combines traditional cultural imagery with modern consumer tastes to propose effective design solutions. According to the research results, the following conclusions were drawn. A total of 87.87% of respondents showed a strong interest in lion dance souvenirs and placed greater emphasis on their cultural value. Consumers tend to prefer souvenirs with significant cultural symbolism. Moreover, Gen Z consumers are more inclined to purchase cultural souvenirs that feature uniqueness and innovation. Through data analysis, this study provides meaningful insights and valuable data for the souvenir market.

WRITING THE MORIN KHUUR GUIDEBOOK FOR TEACHING FIRST YEAR STUDENTS AT BAOTOU INSTITUTE OF VOCATIONAL TECHNOLOGY

Zhang Kun — 2026-06-30

The Morin Khuur, an iconic instrument of Mongolian culture, embodies the spiritual beliefs, nomadic traditions, and storytelling heritage of the region. This research focuses on developing a guidebook to help first-year students at Baotou Institute of Vocational Technology master its techniques while understanding its deep cultural and religious significance. The purpose of this study is: (1) To Study the Morin khuur music. (2) To construct Morin khuur guidebook for first year students at Baotou Institute of Vocational Technology. (3) To experiment teaching Morin khuur guidebook to teach students in experimental group. (4) To evaluate the effectiveness teaching by using of the Morin khuur music. This study adopts a mixed research method, combining qualitative research with quantitative research. The subjects of the study were 40 first-year students majoring in musicology in Baotou Vocational and Technical College. Through targeted sampling method, a total of 10 instrumental students were taken as samples from 40 first-year students majoring in Morin khuur. Through interviews with three key informants, the researcher developed a Morin khuur instruction manual, which was used as the basis for a teaching experiment with the students. The researchers observed student performance before and after the experiment and verified the effectiveness of the instruction manual by analysing data from formative, summative and play tests. Half of the students achieved ‘very good’ results. The research findings were: (1) The Morin khuur has unique cultural heritage characteristics in terms of melody, tune and performance techniques. It has unique characteristics in terms of playing techniques; (2) The constructed instructional guidebook was validated by experts with an average IOC value of 0.7, indicating its suitability for instructional use. The guidebook is divided into seven sections. It includes information on fundamentals, preparatory exercises, basic exercises, improvement exercises, overtone playing, Mongolian playing methods, and solo pieces to help teachers better plan and implement their teaching. Helps teachers to better plan activities for teaching the Morin khuur; (3) During the 16-week implementation of the manual, the students' playing ability was gradually improved. (4) The average score of the formative test was 79.35 points; the average score of the summative test was 84.10 points. The mean score on the performance test was 4.47 out of 5, indicating that the majority of the students performed well, validating the effectiveness of the Morin khuur guidebook in teaching students.

THE INTEGRATION AND VALUE EXPLORATION OF CHINESE TRADITIONAL CULTURAL SYMBOLS IN MODERN ARCHITECTURAL DESIGN

Zhai Jiawei — 2026-06-30

With globalization accelerating, architectural styles are becoming increasingly homogeneous, raising concerns about cultural identity in modern design. The incorporation of Chinese traditional cultural symbols into contemporary architecture not only preserves cultural heritage but also fosters architectural innovation. This study examines how traditional elements can be effectively integrated into modern architectural practices, ensuring they align with contemporary functional requirements while highlighting distinct cultural characteristics. Through experimental research, the study evaluates the impact of traditional symbols on architectural aesthetics, spatial experience, and cultural significance, offering insights into their practical application. Findings indicate that integrating traditional architectural motifs into modern design enhances cultural expressiveness and artistic appeal while maintaining structural functionality. Experimental group participants, exposed to culturally integrated design approaches, demonstrated superior performance in creativity, functionality, and cultural representation compared to those following conventional design methods. Traditional features such as dougong (interlocking wooden brackets), flying eaves, and courtyard layouts, when adapted through innovative materials and advanced construction techniques, enrich spatial experiences while reinforcing cultural identity. The application of digital fabrication technologies, including 3D modeling and laser engraving, facilitates seamless integration of traditional decorative elements into contemporary structures, enhancing both flexibility and sustainability. Emphasizing the fusion of cultural heritage with modern technology in architectural education is crucial to equipping future architects with the ability to innovate while preserving historical influences. Strengthening interdisciplinary collaboration allows designers to explore new methodologies that balance tradition and modernity. Future research should focus on refining strategies for adapting cultural symbols within diverse urban and rural settings, ensuring that traditional aesthetics not only coexist with contemporary architectural principles but also contribute to regional identity and sustainable design.

CONSTRUCTING GUANGDONG VOCAL MUSIC TEACHING GUIDEBOOK FOR FIRST-YEAR VOCAL STUDENTS AT GUANGDONG LITERATURE & ART VOCATIONAL COLLEGE, GUANGDONG PROVINCE, CHINA

Xia Lijuan — 2026-06-30

Guangdong vocal music, deeply influenced by the region's rich cultural heritage, religious beliefs, and local traditions, reflects the unique linguistic and musical expressions of the Cantonese people. This research aims to create a teaching guidebook that equips first-year vocal students at Guangdong Literature & Art Vocational College with the skills to perform and appreciate the cultural and spiritual depth embedded in Guangdong’s vocal music. The objectives of this research were: (1) investigate Cantonese Children's song. (2) Develop a teaching guide for Cantonese Children's song; (3) Experimenting first grade students with the "Cantonese Children's song guidebook"; (4) Evaluate the teaching effectiveness of this guide. The research method is a mixed method research design that combines qualitative and quantitative methods. The qualitative stage includes interviewing three key informants who meet specific criteria and have 15 years of stage experience, 10 years of university teaching experience, etc. The quantitative phase includes a 16-week teaching experiment. The research subjects were 150 first-year students from five classes at Guangdong literature & art vocational college, and 30 students from one class were randomly selected as the sample. The research tools include interview forms, observation forms, IOC evaluation forms, formative tests, summative tests, and performance tests. Research has found that Cantonese Children's song is an important part of Lingnan folk culture and have unique Lingnan characteristics. It reflects the common life and regional customs of the people of Guangfu and is an indispensable and precious resource for exploring Cantonese and Guangfu culture. Cantonese Children's song conveys profound cultural connotations of Guangfu through simple language, which is also the reason why they have been passed down to this day and remain timeless. It is also a folk-art form with unique charm and cultural value. Learning Cantonese Children's song is fun and lively. Based on the opinions of key informants, this article has selected a total of 9 representative Cantonese Children's song songs from Guangfu. These 9 songs have been widely circulated and best reflect the characteristics of Cantonese Children's song. These songs are gradually deepened and suitable for teaching requirements

THE ROLES AND FUNCTION OF PIPHAT MUSIC IN THAI SOCIETY

Mi Yang — 2026-06-30

Piphat music plays a vital role in reflecting the arts, culture, and traditions of Thai society, deeply intertwined with the people's way of life, beliefs, and religious practices. As a cornerstone of ceremonial and theatrical events, it serves not only as musical expression but also as a living representation of Thailand’s cultural identity and spiritual heritage. Piphat music is not only a reflection of Thailand’s artistic and cultural legacy but also a profound embodiment of belief systems and spiritual practices rooted in Thai society. Traditionally performed in royal ceremonies, Buddhist rituals, and funerals, piphat music is deeply connected to the cycle of life and death, expressing reverence for the sacred and the divine. It reinforces the Thai people's respect for harmony, order, and merit-making, which are core elements of Buddhist philosophy. The symbolic use of instruments and melodies in rituals represents the connection between the earthly and the spiritual realms, making piphat an essential medium through which communal values and religious devotion are conveyed. This inseparable bond between music, belief, and culture emphasizes piphat’s enduring role in maintaining Thailand’s spiritual identity and transmitting cultural wisdom across generations. The purpose of this research was to study the piphat music legacy, roles and functions of piphat music in Thai society, and constructing a guidebook on piphat music for promotion. The research method was a qualitative and quantitative mixed research approach. Data was gathered by interviewing three key informants who are experts in piphat music at Bangkokthonburi University. Research tools included an interview form, guidebook, Index of Item-Objective Congruence (IOC) form, and a questionnaire. The research findings were: (1) The piphat music legacy traced the historical evolution of piphat music, a traditional Thai ensemble rooted in ceremonial practices from the Ayutthaya to Bangkok periods. It was an adaptive resilience amid socio-cultural changes, with modern Thai educational institutions playing a critical role in preserving its sanctity through structured curricula. However, challenges persist in balancing improvisation with rigid ritual frameworks, necessitating innovative strategies to sustain its cultural authenticity in a globalized era. (2) Roles and functions of piphat music in Thai Society piphat music serves multifaceted roles, including ritualistic, religious as well as secular entertainment. Its rhythmic frameworks and melodic structures based the principle of Thai music as like as other ensembles such as the mahori, while regional variations reflect Thai’s cultural diversity. Ethnomusicological analyses highlight its dual identity as a historical archive and a living tradition, though external influences complicated in nationalist’s narrative. (3) The piphat music guidebook comprised of four-chapters in piphat music covering history, music traits, roles and functions, and music genres. IOC for guidebook shown average score for five rating scale was at 4.62. (4) Promotional of piphat music of Thailand by using the guidebook had done by conducting the conference on side and online mixes tai’an City, China in February 2025, attended by 231 participants. The participant’s satisfaction on the seminar revealed by questionnaire survey was at 4.58 on five level rating scale, the results demonstrated its potential for cross-cultural promotion, fostering global appreciation while reinforcing Thai cultural identity.

CONSTRUCTING GUZHENG ACCOMPANIMENT GUIDEBOOK FOR TEACHING SENIOR HIGH SCHOOL FIRST YEAR STUDENTS AT SHENZHEN SENIOR HIGH SCHOOL, GUANGDONG PROVINCE, CHINA

Li Qingcheng — 2026-06-30

The Guzheng, with its ancient roots in Chinese culture, reflects the philosophical and spiritual values of Confucianism, Taoism, and Buddhism through its melodious tones and expressive capabilities. This research aims to develop a guidebook for first-year students at Shenzhen Senior High School, helping them not only master the technical aspects of Guzheng accompaniment but also connect with the rich cultural and religious heritage that the instrument represents. The purpose of this study is: (1) To study guzheng teaching methods from guzheng accompaniment. (2) To construct the guzheng accompaniment guidebook for teaching Senior High School. (3) To teach students by using guzheng accompaniment. (4) To evaluate the efficiency of using Guzheng accompaniment guidebook. This study adopts a mixed research method combining qualitative and quantitative approaches. In the research stage, the interview method and observation method were used to observe the learning status of the elective students in the first year of senior high school in Shenzhen Senior High School. In the development stage, quantitative methods were used to draw conclusions through experimental design and statistical description. Nine students in the senior class of Shenzhen Senior High School were selected as the experimental subjects for the guzheng accompaniment teaching experiment. The effect of guzheng accompaniment teaching was analysed through pre-test and post-test. Using the basic principles and theoretical knowledge of guzheng and vocal music, combined with the author's study and expert interviews, and after exploring and researching the available academic materials, the author kept carrying out innovative teaching methods in the teaching experiment. Aiming at the weakness of guzheng accompaniment, this paper develops a lesson plan for students in the senior elective course. The Guzheng Accompaniment course plan consists of four parts: "Learning Guzheng Performance Skills", "Learning Vocal Singing Skills", "Summary and Review", and "Final Examination". This course plan was finalized after expert interviews and aims to explore how to teach, play and sing songs from classical Chinese poetry works, to improve the development of the musical abilities of high school elective students, and to vigorously innovate and promote new forms of music.

CONSTRUCTING OF TEACHING GUIDEBOOK OF THE NORTHERN SHAANXI FOLK SONGS AT NINGXIA ETHNIC VOCATIONAL AND TECHNICAL COLLEGE

Zhang Kai — 2026-06-30

Rooted in the rich tapestry of Asian cultural identity, folk music plays an essential role in preserving regional heritage, religious symbolism, and social values. In China, Northern Shaanxi folk songs represent not only musical expression but also the historical memory and spiritual resilience of the local communities, often intertwined with rituals, ancestral worship, and the daily lives of the working class. In this cultural context, this study aims to preserve and revitalize the heritage of Northern Shaanxi folk songs through the development and implementation of a targeted teaching guidebook at Ningxia Ethnic Vocational and Technical College in the People’s Republic of China. The research was guided by four objectives: (1) to study Northern Shaanxi folk songs through insights from key informants; (2) to construct a dedicated teaching guidebook for students and educators; (3) to experiment with the use of the guidebook among first-year students majoring in vocal music; and (4) to evaluate the effectiveness of this guidebook in enhancing teaching and learning outcomes. Employing a mixed-methods approach, the study combined qualitative data from expert interviews with quantitative performance assessments. Three renowned folk singers and cultural experts—Professor Zhang Yanling, Associate Professor Zhou Min, and Associate Professor Yong Xiaowei—provided in-depth perspectives on pedagogical and cultural aspects of Northern Shaanxi folk music. Based on this input, researchers developed a structured teaching guide, which was validated by experts and applied in an experimental classroom setting. The sample included 20 first-year students selected via cluster random sampling from a population of 100 vocal music majors. Quantitative evaluation revealed that students taught using the guidebook demonstrated significant improvements in vocal technique, emotional expression, and cultural understanding compared to those who did not receive the intervention. The results confirm that the guidebook is an effective tool for cultivating musical skills and cultural literacy, offering a practical reference model for other institutions aiming to integrate regional folk traditions into modern music education.

CONSTRUCTING CUBASE GUIDEBOOK FOR FIRST YEAR STUDENTS IN MUSIC AT LESHAN NORMAL UNIVERSITY, SICHUAN PROVINCE, CHINA

Du Junwei — 2026-06-30

Cubase, as a powerful digital audio workstation, enables students to engage with the integration of technology and music, a practice increasingly valued in modern Chinese culture for its innovation and adaptability. This research aims to create a guidebook that empowers first-year music students at Leshan Normal University to master Cubase, while also fostering an understanding of how technology intersects with the cultural, spiritual, and artistic expressions inherent in Chinese music traditions. The purposes of this study are: (1) To study Cubase teaching for first year students in music program at Leshan Normal University, Sichuan province. The People’s Republic of China; and (2) To construct Cubase guidebook for first year students in music program at Leshan Normal University, Sichuan province. The People’s Republic of China. The researchers designed this study as a theoretical study, collecting data and literature, sorting out and creating research tools. Through the evaluation and modification of the Cubase application teaching guide by three experts, the researchers modified it according to the suggestions of the 3 experts, and created and developed the Cubase application exercise to guidebook for first year students in music program at Leshan Normal University. The results of the research found that the Cubase program was used to participate in the teaching of Solfeggio and Ear training for first year students in music program in 9 elements; 1) Recording, 2) Audio Editing, 3) MIDI Editing, 4) Virtual Instruments, 5) Chord Track, 6) Audio to MIDI chords, 7) Import/Export, 8) Collaboration and 9) Video. Researcher constructed Cubase guidebook divided into 3 chapters based on the elements obtained from the research; 1) Introduction 2) Using Cubase software to learn solfeggio and ear training in combination with teaching materials; and 3) Problems encountered during practice and solutions.

CONSTRUCTING LISU FOLK SONGS MULTIMEDIA FOR TEACHING SIXTH GRADE STUDENTS AT MAOSHAN ELEMENTARY SCHOOL KUNMING CITY, YUNNAN PROVINCE, THE PEOPLE REPUBLIC OF CHINA

Wang Chenhua — 2026-06-30

This research focuses on constructing multimedia teaching materials based on Lisu folk songs to introduce sixth-grade students at Maoshan Elementary School in Kunming City, Yunnan Province to the rich arts, culture, and traditions of the Lisu ethnic group. By integrating music with elements of Li Su beliefs and religions, the study aims to promote cultural understanding and appreciation through engaging and interactive learning methods. Lisu folk songs are not only artistic expressions but also vital carriers of the community’s spiritual values and worldviews. Closely tied to nature worship, animistic beliefs, and ancestral reverence, these songs reflect the Lisu people's relationship with their environment and spiritual world. Many traditional songs are performed during rituals, harvests, and life ceremonies, serving to communicate gratitude, tell origin stories, and preserve collective memory. Teaching students through these songs allows them to engage with the ethical and spiritual dimensions of Lisu life—learning not only melodies and lyrics, but also absorbing the beliefs that shape community identity. By embedding these values within a multimedia learning experience, the project strengthens cultural empathy, encourages respect for ethnic diversity, and helps preserve intangible cultural heritage. The purpose of this study is (1) to select Lisu folk songs suitable for teaching sixth-grade students from the perspective of experts, (2) to construct multimedia of Lisu folk songs, (3) to use multimedia of Lisu folk songs to teach students in the experimental group, and (4) to take the sixth-grade students of Maoshan Elementary School as the research object to evaluate the teaching effect and student achievement. The research method of mixed method and experimental research is adopted in this study. The experimental tool is multimedia teaching of Lisu folk songs for sixth-grade students in Maoshan Elementary School, conducted 40 minutes a week for 13 weeks. The researchers purposefully sampled 27 students from one of four sixth-grade classes. The results are as follows: 1) Study of Lisu Folk Songs: Multimedia methods were used to teach Lisu folk songs to sixth graders, enhancing cultural understanding and student engagement through formative and summative assessments. 2) Multimedia Creation: Experts guided the development of culturally accurate, child-friendly, and interactive teaching videos incorporating audio, visual, and kinesthetic elements. 3) Teaching Implementation: Over 13 weeks, multimedia was used to teach Lisu folk songs, with students' progress assessed through tests, showing improvement in knowledge and performance. 4)Evaluation: After refining videos, student scores significantly improved, demonstrating the effectiveness of multimedia teaching in enhancing learning outcomes.

THE ESSENTIAL SKILLS OF COLLABORATIVE PIANIST FOR VOCAL MUSIC TEACHING

Wang Han — 2026-06-30

Collaborative pianists play a crucial role in vocal music education, bridging the gap between voice and piano to enhance musical expression, which is deeply rooted in cultural, religious, and artistic traditions. This research explores the essential skills of collaborative pianists in the context of vocal music teaching, focusing on how these skills contribute to the interpretation and performance of culturally significant vocal works, as well as fostering a deeper understanding of the cultural and spiritual values embedded in the music. Using qualitative research methods, the study collected data through in-depth interviews and observations, focusing on the collaborative pianists at Kunming College of Music and Dance and Yunnan Normal University. Conducted between May 2024 and November 2024, the research identifies key competencies needed for successful collaboration, including advanced piano technique, cultural literacy, communication skills, adaptability in performance, and pedagogical abilities. The research finding highlights the collaborative pianist's role in understanding the historical and emotional context of musical works and their ability to guide and support vocal performers. The findings underline the importance of these skills in facilitating effective teaching and performance in vocal music, thus providing valuable insights into the development of collaborative pianism in academic settings.

CONSTRUCTING THE PIANO PERFORMANCE TEACHING GUIDEBOOK IN CHAMBER MUSIC COURSE AT XINGHAI CONSERVATORY OF MUSIC, GUANGZHOU CITY, CHINA

Xie Lin — 2026-06-30

This research focuses on constructing a piano performance teaching guidebook for the chamber music course at Xinghai Conservatory of Music in Guangzhou City, China, aiming to integrate technical skill with artistic expression rooted in the rich arts, culture, and musical traditions of the region. By embracing diverse ways of life, beliefs, and religions, the guidebook seeks to cultivate a deeper understanding of music as a form of cultural dialogue and expressive collaboration within chamber music education. In the context of Chinese musical education, piano performance—especially in chamber settings—is not only a display of technical prowess, but also a channel through which cultural values and collective artistic beliefs are conveyed. Deeply influenced by Confucian ideals of harmony, respect, and balance, as well as Daoist and Buddhist philosophies emphasizing unity with nature and inner expression, Chinese chamber music encourages sensitivity, listening, and mutual support among performers. These philosophical beliefs shape the interpretive choices and ensemble dynamics in performance, urging musicians to engage not only with the notes but with the deeper spiritual and cultural essence behind them. By embedding these elements into the teaching guidebook, the research ensures that students learn to approach chamber music not only as a skill-based endeavor, but also as a meaningful cultural practice that reflects shared values and historical continuity. Research purposes were (1) To study the piano performance technique and teaching method in chamber music course; (2) To construct the piano performance teaching guidebook in chamber music course at Xinghai Conservatory of Music, Guangzhou city, Guangdong province; (3) To experiment teach by using the piano performance teaching guidebook; and (4) To evaluate the efficiency of using piano performance guidebook for chamber music course. This research is a mixed research method of qualitative and quantitative research. The researcher used the interview forms by three key informants, and select the top 10 sophomore year students as sample who scored in the final exam of their freshman year in Guangzhou Xing Hai Conservatory of Music. The research tools were: Interview form, the Piano Performance Teaching Guidebook in Chamber music course, performance test and IOC form. The research finding are as follows: (1) Piano performance teaching in chamber music was emphasized the piano technique, including hand skills, playing skills, mastering timbre, rhythm and speed, finger coordination, (2) The piano performance teaching guidebook in Chamber music course for sophomore year students is divided into six parts: Introduction, Piano Technique in Chamber Music, Piano Teaching Method in Chamber Music, The combination of piano and other instruments in chamber music, Chamber music syllabus and practical operation, (3) This guidebook was experimented to the sophomore students in Xinghai Conservatory of Music, Guangzhou city, Guangdong province, and (4) The efficiency of the piano performance teaching guidebook in Chamber music course showed that the score of three formative tests are 4.34, 4.4 and 4.5 in order, the summative test was 4.68. The piano performance teaching guidebook in Chamber music course is effective. It can be used for teaching.

THE DEVELOPMENT OF TRADITIONAL GUAN KILN POTTERY TOWARDS CREATIVE CULTURAL PRODUCT FOR CONTEMPORARY CHINESE LIFESTYLES

Jing Ku — 2026-06-30

The purpose of this paper through study the artistic characteristics and aesthetics of Guan kiln pottery to study contemporary Chinese lifestyles and daily-use products, and to integrate the methods and strategies adopted by Thai and Western home product entrepreneurs and designers when promoting products to contemporary target groups. The aim is to design cultural and creative products for home decoration that align with contemporary Chinese lifestyles. To study the artistic characteristics and aesthetics of Guan kiln pottery, literature research, interviews, and field surveys were used. To study contemporary Chinese lifestyles and daily-use products, literature research and interviews were employed. To design cultural and creative products for home decoration that fit contemporary Chinese lifestyles, a creative research method was applied for experimentation, and the results of the experiments were used for product development. Results: This study ultimately analyzes the artistic characteristics and aesthetics of Guan kiln pottery, the user demands for contemporary Chinese home products and the marketing strategies of Thai and Western home product brands, Finally, developed a series of home cultural and creative products through design practice, to support the conclusions drawn from the first three aspects.

THE ROLE OF RELIGIOUS TEXTS IN DE-ESCALATION OF TENSIONS AND INVIGORATING DIALOGUE BETWEEN KUKI AND MEITEI COMMUNITIES

Bintul Islam — 2026-06-30

Manipur’s ongoing ethnic conflict, primarily between the Meitei and Kuki communities, is rooted in historical, cultural, and geographical disparities. This study examines the socio-political and religious dimensions of the tensions, focusing on the Meitei demand for Scheduled Tribe (ST) status, territorial disputes, and cultural alienation. The research utilizes insights from sociological theory of interreligious dialogue and peacebuilding, and hence explores the role of religious texts in de-escalation and peacebuilding, highlighting teachings from Christianity and Hinduism that emphasize unity, love, and non-violence. A qualitative methodology is employed; combining historical analysis, policy evaluation, and textual study of religious scriptures. This paper underscores the potential of integrating sociological insights and religious principles to foster lasting peace and reconciliation in Manipur.