Comment on “Transformation of educational introspection: evaluation of the current situation and development of basic music education in China”Elementary music pedagogy in China demonstrates how tradition, modernity, and global trends intersect and influence each other. For centuries, music teaching has rested on two major foundations: Confucian and Taoist cosmologies. Today, as society changes rapidly, a new need arises to emphasize creativity, diversity, and the integration of modern approaches. This is where tensions often arise. They are especially pronounced when music education is linked to cultural identity, nationalism, and music's role in shaping collective consciousness (Feng; Jing, 2024).
From the beginning, music education in China has been rooted in a philosophical perspective that places music beyond mere aesthetic experience. Music is seen as both a moral and social tool. Confucianism views it as a tool for instilling virtue and strengthening societal cohesion. Therefore, the ancient Chinese curriculum focused on discipline, moral development, and the integration of the individual with social harmony. Taoism offers a different path, emphasizing spirituality, spontaneity, and harmony with the universe. While their emphases differ, both share the belief that music is more than just entertainment or technical skill. Music is a valuable practice that places humanity within a broader moral and cosmological framework.
The past few decades have brought new directions. Music education in China has begun to move in line with global changes. Creativity, sensitivity to cultural diversity, and a more holistic approach are increasingly valued. Consequently, technical aspects are sometimes neglected. Ho (2023) emphasizes that creativity and cultural flexibility need to be the core foundation of music teaching. However, this demand for diversity and global sensitivity does not always align with the Confucian tradition that still strongly influences educational policy and practice in East Asia. Nevertheless, a multicultural approach and the idea of shared citizenship have the potential to bring significant benefits, both to education and to wider society.
Primary music education in China stands at a critical juncture, positioned between traditional conceptions that emphasize moral cultivation, the utilitarian imperatives of the examination system, and contemporary demands for creativity and cultural pluralism. The confluence of these conflicting tendencies creates a contradiction that is difficult to avoid. Some propose the idea of a compatible philosophy to reconcile these contradictions through inclusivity, synthesis, and flexibility of approach. However, as showed by Feng and Jing (2024), in reality, the utilitarian pressures within a nationalistic framework remain strong, making the need for a new philosophical foundation in music education increasingly apparent.
An important implication that emerges is whether aesthetic education should be regarded as a central philosophical orientation in music teaching. By foregrounding creativity and affective learning, aesthetic education challenges utilitarian approaches and repositions artistic experience at the core of pedagogical practice. However, this approach becomes narrow-minded when music is reduced to a mere aesthetic experience. Law and Ho (2011) questioned this when the Chinese government began using music for social cohesion. At that point, music became an ideological vehicle, losing its critical and emancipatory potential. Ho (2023) emphasized that creativity is increasingly glorified but loses its revolutionary power when institutionalized through a standardized curriculum. A paradox emerges: music is often praised for liberating the imagination and celebrating diversity, yet it is constrained by structures that make it a tool for ideological, cultural, or functional interests.
One important aspect rarely touched upon in discussions of music education is the role of technology in transforming its philosophical foundations. The advent of digital media, internet-based learning, and virtual performance platforms has shifted the way music is created, taught, and enjoyed. These changes have given rise to new questions about how aesthetic experiences are shaped by technology and its impact on concepts of authenticity, imagination, and cultural identity. Confucianism and Taoism do indeed offer a legacy of moral and spiritual perspectives on music, but neither offers many answers when it comes to the issue of digital music culture. It is at this point that the need arises for a new theoretical framework capable of explaining how technology mediates musical practices and meanings in contemporary life. Furthermore, the Chinese cultural diversity debate on music education should take into account the tension between the need to preserve our national heritage and the interaction with worldwide music genres. In practice, Western classical repertoire remains dominant, while local and minority music tends to be marginalized. Law and Ho (2011) caution that an overemphasis on nationalism can actually suppress cultural diversity, even though official policies appear to encourage it. A fully pluralistic philosophy should open up space for diverse genres while encouraging critical analysis of established hierarchies. Changes in the philosophy of music education in China cannot be seen simply as curriculum reform or pedagogical innovation. A more fundamental issue is who has the right to define culture, identity, and creativity in a rapidly changing society. Engaging with Confucianism and Taoism provides a means of affirming indigenous philosophical traditions, yet the forces of globalization and modernization necessitate new models of aesthetic and creative education. Such models must balance continuity with cultural heritage while simultaneously fostering innovation, accommodating nationalist aspirations, and embracing cosmopolitan orientations.
The long-standing debate about the purpose and ideology of music education in China reflects a larger question about the social function of education. Music education has always been at odds. On the one hand, it serves to cultivate national character and moral virtue. On the other hand, it serves as a means of expressing individual creativity and cosmopolitan citizenship. These two goals are rarely truly aligned, and the tension between them underlies the philosophy of music education in China.
References
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FENG, Y. N.; JING, P. Transformation of educational introspection: evaluation of the current situation and development of basic music education in China. Trans/Form/Ação: Unesp journal of philosophy, Marília, SP, v. 47, n. 5, p. e02400169, 2024. Available at: https://revistas.marilia.unesp.br/index.php/transformacao/article/view/15091
» https://revistas.marilia.unesp.br/index.php/transformacao/article/view/15091 - HO, W.C. Culture, creativity, and music education in China: Developments and challenges. London: Routledge, 2023.
- LAW, W.W.; HO, W.C. Music education in China: In search of social harmony and Chinese nationalism British Journal of Music Education, v. 28, n. 3, p. 371-388, 2011.
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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.n4.e025190
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.n4.e025190
