Chinese music therapy to treat depression in children and adolescents: The BARIT-Model

Depression is broadly considered a global epidemic. In China it ranks among the most prevalent mental disorders and is seriously affecting the younger generation (prevalence between 4% and 41%), hence the necessity to foster health education and sustainable resilience. Meta-synthetic construction resulted in a music-based model of educational therapy comprising five principles, beauty, activation, responsiveness, immersion and transformation, hence the name ‘BARIT-model’: (i) referring to anthropological, psychological and neuroscientific aesthetics, the approach benefits from the healing power of aesthetic experience, (ii) behavioural activation is widely regarded as an efficient approach to treat depression. Different from conventional cognitive behavioural therapy, the BARIT-model involves artistic activities such as music improvisation, sound scene improvisation, vocal experiments or creative variations of Chinese martial arts, (iii) responsiveness concerns the qualitative similarity of emotion and music, alongside the patients’ feeling of being ‘understood’ by what they are listening to, (iv) while depressive mood tends to occupy the whole person, music immersion can help to escape that ‘pathological cage’, (v) finally, traumatic roots of depression need therapeutic processing, such as artistic symbolisation, intermodal transformation and relabelling of traumata as potential source of creative performance. The BARIT-model is part of a comprehensive project to improve mental health in Chinese children and adolescents through arts-based methods for classroom education, which encompasses ‒ in addition to depression ‒ attention deficit hyperactivity disorders, oppositional defiant disorders, anxiety disorders, stress-related disorders and burnout syndromes, eating disorders such as anorexia nervosa or binge eating, as well as disorders related to the COVID-19 pandemic, e.g. developmental syndromes caused by lockdown and social distancing.

Chinese Music Therapy and Clinical Music Education in Attention Deficit Hyperactivity Disorder

With an overall pooled estimate of 7.2% attention, deficit hyperactivity disorder (ADHD) is considered a global psychopathological burden in the younger generation, and a prevalence of 6.4% makes it the leading mental issue in China. On the basis of comparative research and meta-synthetic construction, the present article suggests to differentiate between ADHD as a primary psychiatric disorder, ADHD-typical symptoms caused by disturbing environmental conditions, and multifaceted ADHD resembling syndromes generated by adverse developmental processes and inadequate educational facilities. This differentiation has a decisive impact on treatment modes such as (i) clinical music education, e.g. piano tuition, (ii) cultural participation and self-adjustment through arts-based cognitive behavioural therapy, (iii) avoidance of disturbing stimuli as well as music-based resilience techniques, and (iv) Chinese music therapy including sound-meditation, focused listening training, creative self-actualisation and music-based self-regulation. Interdisciplinary approaches combining music therapy and music education are discussed, alongside cross-cultural application and flexible settings, online music therapy included.

Art of Contemporary Composer Jia Daqun in Context of Chinese Culture

На современном этапе развития китайской профессиональной музыкальной культуры композитору и музыкальному теоретику Цзя Дацюню принадлежит особая роль. В статье рассматриваются его жизненный путь, композиторское творчество и музыкально-теоретические работы. Цель исследования — определить роль композитора в развитии современной китайской академической музыки; создать панораму его творчества; выявить в произведениях специфические формы претворения китайских национальных традиций, сочетающихся с элементами композиторских техник XX–XXI веков. Многие аспекты китайской музыки до сих пор не изучены и представляют исследовательский интерес; в результате получают характеристику яркие черты стиля Цзя Дацюня, как основная идея его творчества выделяется органичный синтез китайской народной музыкальной культуры и европейских универсалий. Цзя следует современным музыкальным тенденциям: он применяет в сочинениях такие композиционные техники, как серийность, сериализм, пуантилизм, минимализм, микрополифония, алеаторика, пространственная музыка, а также активно работает в области музыкального театра. Во всех его музыкальных произведениях присутствуют национальные китайские элементы, которые представлены музыкальными инструментами, народными темами и звукорядом пентатоники, воплощая образы китайской культуры в их неповторимом своеобразии. The article examines life path of a contemporary Chinese composer Jia Daqun and his art as a composer and music theorist. The purpose of research is to determine the role of the composer in the development of modern Chinese musical culture; to create a panorama of his art; to identify the main features of his style; to designate in his compositions specific forms of implementation of Chinese national traditions, combined with characteristic tendencies of musical compositions of the XX–XXI centuries. The scientific novelty of the article lies in fact that many aspects of Chinese music have not yet been studied and are of a research interest. At the present stage of development of the Chinese professional musical culture, special role belongs to the composer and musical theorist Jia Daqun. The research highlights bright features of the composer’s style and the main idea of his art, namely the idea of organic synthesis of Chinese folk and European musical cultures. In his compositions Jia follows modern musical trends, uses such compositional techniques as seriality, serialism, pointillism, minimalism, micropolyphony, aleatorics, spatial music. He also actively works in the field of musical theater. All his musical works contain national Chinese elements, which are represented by musical instruments, folk musical themes and pentatonic scale, and images of Chinese culture.

Differences in instrumental practice time and strategies among Chinese music majors

The purpose of this study was to explore differences in time spent practicing and the practice strategies used by Chinese music majors according to university location, instrument played, and participant gender. A total of 154 participants who played string, woodwind, brass, and keyboard instruments, including 103 participants attending Chinese universities and 51 Chinese participants pursuing degrees abroad (in the United States, Russia, and Great Britain) completed a Likert-type scale questionnaire. Findings indicated that students studying abroad spent more hours on weekly practice and had more years of instrumental study than students studying in China, but their responses also indicated they were less organized about their practice and had more difficulty concentrating while practicing than students in China. According to the analyses by instrument, woodwind and brass players were more likely to organize their practice than keyboard players; string, woodwind, and brass players were more likely to use recordings and metronomes than keyboard players; and brass players reported concentrating better than keyboard players. Regarding gender differences, the only significant difference was that female participants had spent more years studying their instruments than males. Identified differences can help instrumental instructors better understand students’ practice habits and tailor their teaching to fit the needs of students in response to individual differences.

Research on the Artificial Intelligence Teaching System Model for Online Teaching of Classical Music under the Support of Wireless Networks

For the past year, everyone has been facing difficulties due to the fast spreading of the Corona Virus. As an extension, students, parents, and teachers are handling the challenges in the education sector. Since the COVID days, the schools and colleges were closed, and hence, the students were lagging in their subjects. As an alternative to this scenario, offline classes are converted to online courses, otherwise called virtual classes with virtual classrooms. Due to this conversion, the teaching has become a little more advanced by incorporating various computer-based technologies. The technologies like artificial intelligence, cloud computing, and machine learning paved the way for exploring concepts in data transmission in terms of timely delivery of content, less error rate, and nontechnical terms like making the classes interactive and understanding the subject concepts. In this research work, the online teaching class on music is considered. To be specific, traditional Chinese music is taken for the study. An artificial intelligence model is designed with the aid of wireless sensor networks for the online class on the musical subject. Q-learning algorithm, which is an artificial intelligence-based reinforcement learning algorithm, is implemented. The aim of the Q-learning algorithm in this online teaching of classical music is to check the frequency level of the music that aids in the automatic transfer of another wavelength inside the dataset.

THE DYNAMICS OF CHORAL CULTURE DEVELOPMENT IN CHINA IN THE 1930S ON THE EXAMPLE OF HUANG TZI’S ORATORIO ETERNAL REGRET

Choral music in China is a dynamically developing form of contemporary musical art. Scientific works devoted to the Chinese choral culture consider the 1930s of the 20th century as the most productive period in the development of this branch of musical creativity. The article examines the phase of the active entry of Chinese choral music into the sphere of the oratorio genre, which is directly related to the name of the great Chinese composer — Huang Tzi. It also highlights the issues of the country’s political life in the 1930s, which actively influenced the creation of nationwide singing movements and new choral works in the country. The oratorio genre, the genesis of which refers us to the European religious musical tradition of the 17th century, spread in China owing to the massive flow of Chinese intelligentsia to the territory of Western states throughout the entire beginning of the 20th century. In the article, the actualisation of the oratorio and its interpretation in a new light is presented as the merit of Huang Tzi, whose civic position was directly related to the desire to preserve ethnic origins in Chinese music and to complement them with Western composing techniques organically. Having proved himself not only as a composer but also as a theorist and teacher, Huang Tzi devoted most of his life to educating a large number of music professors, initiating a progressive approach to music education. His desire to raise the level of the composing school in China made it possible to enrich the repertoire of vocal and instrumental music with characteristics of the folk style. The oratorio Eternal Regret presented in the article is a unique creation that organically combines ethnic music and Western composition techniques. In the story of Emperor Xuanzong and Yang Guifei (to the poems of Tang poet Bai Juyi), taken by the composer as the theme for the libretto, there is certain symbolism that has the conceptual plan of addressing the power to demonstrate the alleged results of Kuomintang’s unclear policy. Thus, directly related to political cataclysms and their final embodiment in the form of the Sino-Japanese war (1937-1945), the oratorio Eternal Regret is presented in the article as a consolidating core that inspired the civilian masses to fight the Japanese invaders. The analysis of Bai Juyi’s original poem “Eternal Regret” and a fragmentary historical-stylistic and vocal-choral analysis of the oratorio have been carried out. The artistic features of individual parts of the oratorio, seven of which were completed by the composer, are revealed. Based on literary sources and theoretical research presented in the article, the author asserts the special role of the oratorio Eternal Regret in history and its far-reaching influence on the prospects for the development of the Chinese choir.

Analisis Video Comments To Video Views Ratio Tiktok Pada 5 Brand Hp Terlaris Di Indonesia Versi Canalys

Social media is a new place for business people to market their products or do marketing. The TikTok application is a social network and Chinese music video platform launched in September 2016. Tiktok is also a social media application that displays short videos and can be arranged in such a way, where Tiktok is currently being popularly used by various groups of people. Because the TikTok marketing market is considered promising, not a few well-known brands or vendors are trying to do marketing through TikTok, including the following smartphone brand vendors: Vivo, Oppo, Samsung, Realme and Xiaomi. The purpose of this study is to determine the credibility of the performance of the Canalys version of the 5 Best Selling HP Brand TikTok accounts in Indonesia using Video Comments to Video Views Ratio. The method used in this study is a quantitative exploratory method. The results of this study show that the Xiaomi Indonesia brand gets the highest rating and has the best account performance credibility compared to other brands or vendors.

Place references in Chinese music titles since 1912: changing patterns across regions and time

There are strong links between music and ‘sense of place’. This study investigates the connotations and features of the sense of place in songs against the background of social change between 1912 and 2019 in China. From 1912 through 1949, the sense of place was chiefly patriotic. From 1950 to 1979, the influence of socialism resulted in songs that concentrated on historical sites to form place identity. After 1980, the music market influenced the writing of songs about ‘place’. Since 2010, the sense of place has involved the activities of individuals and events within an area that shape the feel and impression of the place, and it is complex and plentiful. The results indicate that the relationships between people and the places they sing about become more abundant and detailed over time, along with a change from each place having a dominant style to a more diverse scenario. Before the opening-up and reform of China in 1979, the sense of place was often a shared collective memory, whereas today, the trend is towards personal songs. Additionally, sense of place is studied in regard to social processes as well as individual music pieces, and the driving force of each period is the response to basic social contradictions.

The Integration of Chinese Opera Traditions into New Musical Compositions

<p>Almost fifty years ago Chinese composer Chou Wen-chung proposed a musical “re-merger” of East and West. For many Chinese composers of today a sense of historical continuity and an awareness of inherited musical traditions are important contributor to cultural identity, and a basis on which to build the future. The generation that emerged after the Cultural Revolution found new freedoms, and has become, at the beginning of the twentyfirst century, a significant presence on the international musical stage, as the paradigm shifts away from being European-centered, to a culture belonging to the “global village”. As with many other Chinese composers of my generation, the creation of new compositions is both a personal expression and a manifestation of cultural roots. Techniques of “integration” and “translation” of musical elements derived from traditional Chinese music and music-theatre are a part of my musical practice. The use of traditional Chinese instruments, often in combination with Western instruments, is a no longer a novelty. The written exegesis examines some of the characteristic elements of xìqǜ (the generic term for all provincial Chinese operas), including dǎ (percussion - an enlarged interpretation of dǎ, as found in chuānjù gāoqiāng Sichuan gāoqiān opera), bǎnqiāng (The musical style that characterizes Chinese xìqǚ), and niànbái (recitation and dialogue), as well as the kuàibǎnshū (storytelling with percussion) of qǚyì (a term to use to include all folk genres), and shāngē (mountain song). The techniques employed in integrating and translating these elements into original compositions are then analyzed. In the second volume of the thesis the scores of five compositions are presented, four of the five works are set in Chinese, exploring the dramatic aspects of language, and may be considered music-theatre, one being an opera scene intended for stage production.</p>