This study aims to explore the ethnomathematical concept embedded in the traditional musical instrument Serunai Bengkulu, with a focus on its geometric and symmetrical elements. Serunai, a local cultural heritage, has a physical form that reflects mathematical concepts, such as a cylinder, a truncated cone, and a circle. Using a descriptive qualitative approach with ethnographic methods, data were collected through direct observation, interviews with cultural experts, and visual documentation. The results show that parts of the Serunai, such as the funnel, stem, and ornaments, exhibit vertical and rotational symmetry, as well as geometric shapes consistent with mathematics learning materials at the Junior High School (SMP) level. Integrating local cultural elements into mathematics learning can provide a contextual learning experience, increase student interest, and bring mathematics closer to everyday life. These findings support the importance of implementing ethnomathematics in education, particularly in efforts to preserve local culture and to strengthen understanding of mathematical concepts in more meaningful ways. This study also recommends using cultural objects, such as musical instruments. traditional in learning as a contextual medium to introduce the concepts of geometry and symmetry to students.
As one of the three influential music education systems in the world, Orff music teaching method takes "originality" as the core, emphasizes the integration of music with action, language and drama, and pays attention to students' active participation and creative expression, which is highly compatible with the talent training objectives of preschool education in higher vocational colleges.The preschool education program serves as a vital discipline for training frontline early childhood educators, where the quality of music instruction directly shapes future teachers' musical literacy and practical teaching skills. This study examines the application value, implementation pathways, and optimization strategies of the Orff music teaching method in this program, considering the unique characteristics of music education and student demographics in vocational colleges. By analyzing existing challenges in teaching practices and proposing targeted solutions, the research aims to enhance music education quality and cultivate practical, industry-ready professionals for early childhood education.
Comprehensive musicianship, which emphasises the balanced development of technical, aural, creative, and theoretical skills, has become increasingly recognised as essential for fostering well-rounded young musicians. Group piano teaching provides a collaborative environment that supports varied and interconnected musical learning experiences. This study investigates the factors that influence piano teachers to integrate comprehensive musicianship into group lessons for young beginners in China. A qualitative case study design was employed, involving four piano teachers selected through purposeful sampling. Data were collected through semi-structured interviews and classroom observations. Two major themes emerged from the analysis: perception change and group-settings strategies. On one hand, teachers’ willingness to move beyond their conservative learning backgrounds, along with a growing recognition of group instruction as a valid teaching format, as well as parental expectations, contributed to their openness to adopting comprehensive approaches. On the other hand, the group structure itself enabled the use of eclectic teaching methods such as Kodály, Orff, and Dalcroze, which supported the integration of multiple musical skills. At the same time, the structural demands of group teaching, particularly the need for clear, multi-layered lesson planning, further encouraged the inclusion of comprehensive musicianship elements. This study highlights how both perceptual and practical factors interact in shaping teachers’ curriculum choices. By examining these themes, this study seeks to contribute to a deeper understanding of contemporary piano pedagogy and provide practical insights for curriculum development and teacher training in the Chinese context.
The primary challenge in sports dance research is its long-standing reliance on subjective, experience-based instruction. This approach lacks effective tools for high-precision, quantitative analysis of technical movement details, which has limited the scientific improvement of teaching quality. To address this issue, this study introduces a markerless three-dimensional image analysis method that combines music-beat synchronization with an improved optical flow recovery model. For the first time, the complete movement cycle of the Waltz Square Step (WSS) was divided into seven refined phases according to musical rhythm (Beats Per Minute, BPM = 30). In addition, the Hanavan human body model was applied to enable a coordinated quantitative analysis of skeletal and muscular motion parameters. This approach overcomes major drawbacks of traditional motion capture technologies in teaching contexts, such as high costs and operational complexity. The results show that skilled dancers demonstrated clear technical advantages over average dancers when evaluated using this method. Their center-of-mass displacement fluctuation was reduced by 39% (Phase 3), knee joint angular variation decreased to 8.5 degrees, and the movement economy index improved to 0.92. The method also achieved high accuracy, with a center-of-mass displacement error of only 0.12 m, a joint angle error of 1.3 degrees, and a motion recognition accuracy of 94.6%. Overall, these findings provide unprecedented quantitative evidence for the teaching and training of the WSS. More broadly, they illustrate a research paradigm that can be applied to performance-oriented, skill-intensive disciplines.
Michael Muhumuza, Lawrence Branco Sekalegga, E. Jjemba
et al.
This study investigated the effectiveness of episodic dramatics like songs, skits, and performance-based storytelling as a culturally grounded strategy for strengthening the uptake of COVID-19 preventive behaviours in Uganda’s pandemic and post-pandemic contexts. Departing from predominantly cognitive, instruction-based risk communication models employed by the Ministry of Health, the study adopted a practice-led, mixed-methods research design combining creative production, participatory workshops, and qualitative audience observation. Data were generated through collaborative artists workshops, iterative script and lyric development sessions, videography, field-based performance testing, and reflective documentation of audience engagement and behavioural responses. Behavioural objectives were embedded within narrative, musical, and performative elements to ensure clarity, cultural resonance, and emotional accessibility. Empirical findings indicate that episodic dramatics significantly enhanced message retention, facilitated embodied rehearsal of preventive practices, and fostered positive shifts in attitudes toward mask-wearing, social distancing, and self-isolation. Audience members demonstrated improved recall of key health directives and expressed greater willingness to adopt recommended behaviours. The study concludes that episodic dramatics function as an embodied communication model that integrates sensory-motor engagement with cognitive processing, thereby deepening behavioural learning and transforming public health directives into culturally meaningful, lived practices. These findings contribute to performance-based health communication scholarship and offer a replicable framework for culturally responsive public health interventions in Uganda, in particular, and other low and middle-income countries in general
Junita Batubara, Herman Herman, Jenny Ria Pakpahan
et al.
This study discusses the outcomes of experiential learning derived from the MBKM internship program conducted at Flow Music GBI Rumah Persembahan, Medan. The internship was carried out over eleven meetings (27.5 hours) during the period of October–December 2024, with activities including music instruction, administrative tasks, and event management. Data were obtained through direct practice, observation, and reflection. The results indicate an improvement in musical competence, particularly in piano and guitar performance skills, as well as an enhanced understanding of teaching methods appropriate to students of various age groups. In addition, students gained experience in music education administration, such as course scheduling, musical instrument inventory management, and document organization. The internship also contributed to the development of soft skills, including communication, time management, discipline, and problem-solving abilities. These findings confirm the importance of internship programs as a bridge between theory and practice while preparing students for professional careers in the field of music education. In conclusion, a structured internship not only strengthens technical and pedagogical skills but also shapes holistic readiness to face the creative industry.
Chamber music instruction in higher music education plays a crucial role in developing students’ technical competence, musical expression, and ensemble collaboration. However, existing pedagogical approaches often prioritize technical training over holistic musicianship and rely heavily on traditional teacher-centered methods. This study examines the effectiveness of an innovative chamber music pedagogy that integrates Project-Based Learning (PBL), Collaborative Learning, and Musical Intelligence Theory to address these limitations and enhance students’ overall performance development. A three-phase mixed-methods research design was employed. First, pedagogical challenges and instructional needs in current chamber music education were identified through a review of relevant literature and semi-structured interviews with instructors and students. Second, the integrated pedagogical framework was implemented in a chamber music course involving 17 undergraduate music majors at South China Normal University. The course design emphasized project-based performance tasks, collaborative rehearsal processes. It differentiated instructional strategies aligned with students’ musical intelligence profiles, while incorporating repertoire from both Western classical and Chinese musical traditions. In the final phase, learning outcomes were assessed through pre- and post-intervention performance evaluations. Quantitative data were analyzed using paired-sample t-tests to determine changes across multiple performance dimensions. The findings indicate that, despite relatively well-established curricular structures, chamber music education continues to face challenges, including limited repertoire diversity, insufficient emphasis on artistic expression, and constrained opportunities for collaborative learning. Following the intervention, students demonstrated statistically significant improvements in all assessed areas. Mean technical proficiency scores increased from 3.79 to 4.35, artistic expression reached an average level of 87.6%, and ensemble skills achieved 84.6%. All measured dimensions showed significant gains, with p-values below 0.05. The study concludes that integrating PBL, Collaborative Learning, and Musical Intelligence Theory offers a practical pedagogical framework for chamber music instruction. The findings contribute empirical evidence to music education research and provide useful implications for curriculum design and instructional reform in higher music education contexts.
This study aims to analyze the form and representation of cultural values in the Salonreng Dance performed in the Lammang traditional ceremony in Kale Lantang Village, Takalar Regency. This research employs a qualitative method with an ethnochoreological approach to examine the textual and contextual aspects of the dance. Field research was conducted from January to March 2026 in Kale Lantang Village. The study involved five informants: one Salonreng dancer, one Pinati (traditional leader) of the Lammang ceremony, and three community leaders with knowledge of the tradition. Data were collected through observation, interviews, and documentation. The results show that the Salonreng Dance has a form of presentation supported by elements of movement, floor patterns, musical accompaniment, makeup, costumes, properties, and performance space, as well as a structured performance closely related to the ritual sequence of the Lammang ceremony, including Anggalle Bulo, Ammone Berasa, Attunu, Anggerang Bungasa, and Appasorong. In this procession, the dance serves as a symbolic medium for expressing gratitude, honoring ancestors, and praying for safety and blessings from God. The dance also reflects the community's educational, social, cultural, and religious values. In conclusion, the Salonreng Dance serves not only as an aesthetic expression but also as a medium for preserving cultural values and strengthening the cultural identity of the Kale Lantang community
Background: Although the Shared Affective Movement Experience (SAME) model suggests the crucial role of imitation and synchronization in music-induced emotion, their application in teaching settings remains largely unexplored. Objectives: This study compared the “Body Rhythm Teaching Method,” based on the principle of mimicking musical elements through bodily movements, with traditional lecture-based instruction. It examined the effects of both teaching approaches on brain activation patterns, measured via functional Near-Infrared Spectroscopy (fNIRS) hyperscanning and instructional outcomes (assessed through musical emotion processing and teaching quality evaluations). The aim was to investigate their efficacy in enhancing students’ musical emotional processing abilities. Methods: A total of 3 teachers and 103 student participants were randomly assigned to the lecture teaching group (n = 35), the body rhythm teaching group (n = 35), or the control group (n = 33). The musical materials used across all three groups were identical, with only the teaching methods differing. fNIRS hyperscanning imaging was employed throughout the process to record brain activity. Results: Results indicate that the body rhythm group significantly outperformed other groups in both behavioral and neural metrics. Specifically, during the post-test music-listening phase, participants in this group not only reported higher emotional arousal but also exhibited stronger activation levels in the bilateral frontopolar cortex (FPC) associated with multisensory integration—both significantly higher than those in the lecture group and control group. Furthermore, during instruction, students in the body rhythm group rated teaching quality higher and exhibited significantly stronger teacher–student IBS across multiple brain regions involved in socio-emotional processing. These included the left orbitofrontal cortex (lOFC) for interoceptive emotion processing, the left frontopolar cortex (lFPC) for multisensory integration, and the right superior temporal gyrus (rSTG) for social interaction. In contrast, the lecture teaching group only showed significantly higher emotional valence ratings compared to the control group. Conclusions: This study confirms the role of imitation and synchronization mechanisms in the SAME model for music-induced emotional responses, providing a neuroscientific basis for teaching practice.
This study explores the integration of FigureNotes–a color-coded music notation system–and the Musical Jumping Pad–a multisensory music technology–within the holistic music educational approach for young children (HMEAYC) improve sensory processing and learning behaviors in preschool children with autism spectrum disorder (ASD). A quasi-experimental design was implemented with 33 participants (17 with ASD and 16 typically developing children), randomly assigned to either an intervention group receiving HMEAYC-based multisensory music instruction or a control group following a standard curriculum. Pre- and post-intervention assessments were conducted using the sensory profile (SP) and the teacher rating scale of the social behavior assessment system for preschool (SBASP), focusing on auditory, visual, and tactile processing, along with learning habits and performance. Results indicated significant improvements in the intervention group across all SP and SBASP subscales, with especially strong gains in tactile processing and learning performance. These findings underscore the efficacy of synchronized multisensory music interventions in supporting sensory integration and behavioral engagement in young neurodiverse learners. The study contributes to the field of inclusive early childhood education by demonstrating how technology-enhanced music education can be both culturally adaptive and developmentally responsive. Future studies should examine the long-term impacts and cross-setting applicability of such interventions.
ABSTRACT This study explored the lived experiences of 36 top-tier female musical theatre performers, each with at least one Broadway credit, who self-identify as highly skilled in singing with mix. The aim was to gain a nuanced understanding of their vocal mix in the context of their broader artistic practices. Using reflexive thematic analysis of survey data, five critical areas of focus were identified: the role of the mix in career success and longevity, affective experiences during performance, enduring adversity in professional practice, performers’ conceptualizations of mixing, and their methods for achieving a balanced vocal mix. The data suggests that most participants possessed natural skill in mixing prior to formal voice training, introducing the factor of innate talent into the discussion. Their mastery of mix appears to be largely experiential and intuitive, potentially shaped more by inherent ability than by explicit technical knowledge or formal instruction. These themes raise important questions about singing pedagogy and the integration of voice science, highlighting the need for further research into the interplay of innate talent, experiential learning, and formal training in developing top-tier musical theatre performers.
Este artículo explora la representación simbólico–sonora del charango en videojuegos peruanos contemporáneos. Se realiza un breve recorrido por algunos escritos musicológicos sobre el charango peruano, y se presentan algunos enfoques teóricos vinculados al estudio de la música en videojuegos. Se propone formas alternativas de estudiar los cruces entre música, videojuegos e identidades sonoras en entornos digitales contemporáneos, a través de sesiones de exploración basadas en el análisis ludomusicológico durante la experiencia de juego. Se estudia el comportamiento sonoro, narrativo, simbólico, visual y funcional del charango en Tunche. Se concluye que la representación sonora del instrumento no está basada aquí en sus características tímbricas, sino en su carga simbólica y visual, y en su funcionalidad dentro de la mecánica del juego.
Lirik lagu merupakan sebagai sebuah medium ekspresi yang kaya akan makna, terutama ketika mengadaptasi teks religius ke dalam konteks musik populer. Artikel ini mengkaji transformasi makna bagian ayat “seperti kamipun mengampuni yang bersalah kepada kami” dari Doa Bapa Kami dalam lirik lagu “Hagia” ciptaan Barasuara melalui pendekatan hermeneutik teori reader-response Wolfgang Iser. Tujuan utama penelitian adalah mengidentifikasi dan menganalisis perubahan makna teks religius ketika dipindahkan dari ruang sakral ke ruang musik sekuler, serta peran musik dalam proses reinterpretasi makna. Metode penelitian menggunakan Hermeneutic Systematic Review (HSR) dengan analisis kualitatif, meliputi tahapan identifikasi makna asli teks religius, pemetaan konteks kreator (Iga Massardi), dan analisis interaksi teks dengan audiens dalam kerangka reader-response. Hasil analisis menunjukkan bahwa makna religius yang awalnya terbatas pada konteks ritual keagamaan mengalami perluasan menjadi sebuah pesan universal tentang toleransi dan solidaritas sosial. Musik sebagai medium memainkan peran krusial memperluas horizon penerimaan interpretasi terhadap makna baru yang mana dapat melampaui batas-batas keagamaan. Simpulan penelitian menegaskan bahwa makna teks religius bersifat dinamis, berkembang sesuai konteks sosial budaya pencipta dan pembaca. Implikasi hasil penelitian ini menunjukkan potensi musik populer sebagai media dialog antaragama dan rekonsiliasi sosial dalam konteks Indonesia yang plural. Penelitian ini membuka arah baru dalam kajian hermeneutik musik Indonesia dengan menunjukkan bahwa adaptasi teks religius dapat memperkaya diskursus keagamaan kontemporer tanpa menghilangkan nilai spiritualnya. Kontribusi teoretis penelitian ini terletak pada penerapan teori reader-response dalam analisis lirik musik populer Indonesia, yang sebelumnya belum banyak dilakukan secara sistematis. Transformasi makna ini menunjukkan bahwa musik populer dapat menjadi jembatan antara nilai-nilai religius dan kebutuhan masyarakat kontemporer yang beragam. Penelitian ini mengungkapkan bahwa proses perubahan makna tidak menghilangkan nilai spiritual dari teks asli, melainkan memperluas aksesnya kepada audiens yang lebih luas tanpa batasan denominasi agama. Temuan ini memberikan pemahaman baru tentang bagaimana seni dapat berperan dalam membangun dialog antariman dan toleransi di Indonesia yang majemuk. Dengan demikian, musik tidak hanya berfungsi sebagai hiburan, tetapi juga sebagai medium komunikasi nilai-nilai kemanusiaan universal yang relevan dengan kondisi sosial masyarakat Indonesia saat ini.
The Transformation of Religious Text Meaning in Indonesian Popular Music: A Reader-response Perspective
Abstract
Lyrics are a rich medium for expressing meaning, especially when adapting religious texts to popular music contexts. This article examines the transformation of the phrase "as we forgive those who trespass against us" from the Lord's Prayer in the song "Hagia" by Barasuara, using Wolfgang Iser's reader-response hermeneutic theory. The primary goal is to identify and analyse the shift in the meaning of religious texts when they are moved from sacred to secular music spaces and to explore how music influences this reinterpretation process. The research employed a Hermeneutic Systematic Review (HSR) with a qualitative approach, involving the identification of the original meaning, mapping the songwriter's context (Iga Massardi), and analysing the interaction between the text and the audience through reader-response theory. The results reveal that the original religious meaning, once limited to a ritual context, transforms into a universal message of tolerance and social solidarity. Music plays a key role in expanding the scope of meaning reception, surpassing liturgical boundaries. The study concludes that the meaning of religious texts is fluid, changing based on the socio-cultural context of both the creator and the audience. The findings highlight the potential of popular music as a tool for interfaith dialogue and social reconciliation within Indonesia's diverse society. This research opens new avenues in Indonesian music hermeneutics by showing that adapting religious texts can enhance contemporary religious discussions without compromising their spiritual significance. Its main contribution is the systematic use of reader-response theory to analyse Indonesian popular music lyrics, an approach that has been largely overlooked in earlier studies. The research offers a model for understanding how sacred texts can act as bridges for cross-cultural and interreligious understanding today. This transformation shows that popular music can connect religious values with the needs of a modern, diverse society. It also reveals that the process of transforming meaning does not diminish the spiritual worth of the original text; rather, it broadens its reach, crossing denominational boundaries. These insights suggest how art can help promote interfaith dialogue and tolerance in Indonesia's pluralistic society. Therefore, music serves not only as entertainment but also as a medium for conveying universal human values that are relevant to Indonesia's current social landscape.
Keywords: hermeneutics; reader-response; popular music; religious text meaning; Barasuara
This study presents research on Roma music in Serbia, as well as the
socio-historical contexts that have shaped it. Texts by Tihomir Đorđević,
Andrijana Gojković, Tatomir Vukanović, Vesna Acković, Dimitrije Golemović,
Svanibor Pettan, Ivana Ljubinković, Alexander Marković, Ana Banić Grubišić,
and other researchers who have contributed to this field from the beginning
of the twentieth century to the present day are analyzed. Chronologically
arranged thematic and disciplinary nodes are also highlighted - from
ethnological descriptions, classifications and the first discussions on
representations of Roma identity, through (musical) folkloristics, non-Roma
ethnomusicological analytical engagement with understandable text (i.e.,
instrumental music), to the shifting of the Serbian and American
anthropologists’ focus toward socially engaged interpretations.
The traditional music art of Ketadu Mara in Sabu Regency possesses a distinctive sound and song lyrics derived from everyday life. This study aims to examine the musical activities of Ketadu Mara through Max Weber’s social action theory. As a cultural heritage of the Sabu community, Ketadu Mara holds a significant role as a social practice rich in symbolic meanings, cultural values, and social functions. This research employs a descriptive qualitative method with phenomenological and sociological approaches. Data were collected through participatory observation and in-depth interviews with local artists and cultural community members in Ledeana Village, which serves as a center for preserving Ketadu Mara. The findings reveal that Ketadu Mara’s musical activities reflect two dominant types of social action according to Weber: traditional action, which is inherited across generations without formal instruction, and value-rational action, driven by beliefs in cultural values, ancestral reverence, and spiritual devotion. Beyond serving as entertainment and a means of cultural preservation, Ketadu Mara also functions as a medium for symbolic communication, identity formation, and education for younger generations. Thus, Ketadu Mara plays a crucial role in strengthening social solidarity and sustaining local cultural existence amidst the tides of change.
Maria Magdalena Cita Hapsari, W. Wadiyo, S. Haryono
Violin learning presents its own set of challenges, particularly in developing students’ fundamental techniques and musical sensitivity, which require refined motor coordination and heightened auditory perception. The observed low effectiveness of conventional violin instruction—often centered on verbal guidance and repetition without sufficient sensory support—highlights the need for more innovative pedagogical approaches. This study aims to investigate the role of stimuli in violin learning through a comprehensive academic literature review, with a specific focus on visual, auditory, and haptic modalities. The research adopts a qualitative literature review method, drawing from peer-reviewed journal articles published between 2015 and 2025. Findings indicate that the application of multimodal stimuli significantly enhances technical accuracy, accelerates the learning process, and boosts student motivation and engagement. These results underscore that stimuli function not merely as supplementary tools, but as essential components in effective violin teaching strategies that are responsive to students’ diverse learning needs.
This study explores the application of Howard Gardner’s Multiple Intelligences (MI) theory in enhancing the English proficiency of Low-Proficiency Learners among university students in China. Amid growing concerns over the generally weak English performance of college students, this research investigates whether MI-informed teaching strategies can provide effective pedagogical interventions. A quasi-experimental design was employed, involving two parallel classes of non-English majors: one experimental group received MI-based English instruction, while the control group followed traditional teaching methods. The intervention lasted for 16 weeks and integrated various intelligence types - linguistic, musical, bodily-kinesthetic, interpersonal, intrapersonal, and more - into classroom activities such as role plays, group discussions, music-assisted pronunciation training, and reflective writing tasks. Data were collected through pre- and post-tests, motivation surveys, classroom observations, and semi-structured interviews. The results demonstrated that the experimental group showed significantly greater improvement in listening, reading, and writing skills compared to the control group. Additionally, students exhibited increased motivation, higher engagement, and more positive attitudes toward language learning. The study also found that matching instructional activities to students’ dominant intelligence types contributed to more personalized and effective learning experiences. The findings confirm that MI-based teaching is particularly beneficial for Low-Proficiency Learners by activating their potential through diversified learning channels. The study offers both theoretical and practical implications, suggesting that MI theory can serve as a viable framework for differentiated instruction in tertiary English education. Recommendations are provided for curriculum designers, English instructors, and institutional leaders to incorporate intelligence-responsive practices into teaching and assessment. Future research may further explore the long-term impact of MI integration and its cross-disciplinary applications.
This study investigates an innovative chamber music pedagogy integrating Project-Based Learning (PBL), Collaborative Learning, and Musical Intelligence Theory to enhance performance education. Employing a three-phase mixed-methods design, the research first identified pedagogical needs through interviews and literature review, then implemented the integrated approach with 17 music majors at South China Normal University, and finally assessed outcomes through comprehensive pre-post testing. Quantitative results demonstrated significant improvements across all measured dimensions: technical proficiency increased from 3.79 to 4.35 (p<0.01), artistic expression reached 87.6%, and ensemble skills achieved 84.6%. The findings validate this multidimensional framework as an effective model for chamber music instruction, offering both theoretical insights and practical strategies for music education reform. The result showed that: 1. Current chamber music education in higher music institutions has established a relatively comprehensive curriculum system, yet still faces several structural issues including an imbalance between technical training and artistic expression, limited repertoire diversity, traditional teaching methods, and insufficient resources, all of which constrain the holistic development of students' comprehensive musicianship. 2.This study innovatively integrates Musical Intelligence Theory, Project-Based Learning, and Collaborative Learning to construct a multidimensional pedagogical framework, with empirical results demonstrating significant improvements in students' technical proficiency (average scores increased from 3.79 to 4.35), artistic expression (87.6%), and ensemble skills (84.6%), while successfully achieving cross-cultural integration of Western classical and Chinese musical traditions, thereby providing both theoretical and practical paradigms for music education reform. 3. Through paired t-test analysis, the p-values for all dimensions were less than 0.05.The significant t-values further validate the effectiveness of the course in enhancing students' technical skills and artistic expression. This result indicates that the course has achieved notable success in comprehensively enhancing students' overall musical literacy and performance abilities.
Learning guzheng has gradually evolved into a cultural phenomenon that not only sweeps across the country but also exerts influence overseas. However, traditional guzheng teaching is characterized by monotonous methodologies, lack of engaging elements, and insufficient cultivation of musical expressiveness as well as artistic sensibility. Therefore, grounded in constructivist theory and using "Fighting the Typhoon" as a case study, this paper develops a teaching design aimed at enhancing the quality of guzheng instruction, fostering students' autonomous learning capacity, and nurturing their musical innovation skills.
With the rapid advancement of computer vision, audio processing, and artificial intelligence technologies, virtual music education systems have increasingly demonstrated significant advantages in piano instruction by overcoming temporal and spatial constraints, enabling personalized guidance, and promoting equitable access to resources. However, most existing virtual piano tutoring systems remain focused primarily on capturing and analyzing audio information, neglecting the crucial role of the performers physical movements in technical execution and musical expression. This leads to feedback that is often limited and unidimensional. Furthermore, the lack of efficient multimodal alignment mechanisms hinders accurate identification of learners overall performance. This study proposes an adaptive feedback system based on audiovisual action alignment, aiming to integrate visual and auditory information through standard performance templates and real-time representation analysis to deliver multidimensional and precise feedback on learners piano playing behaviors. Experimental results show that, compared with traditional video-based instruction, learners using this system exhibited significant improvements in rhythm accuracy and fingering correctness, with all measured indicators reaching statistical significance. The research not only offers a novel technical solution for virtual music education by addressing the limitations of conventional systems in guiding technical actions, but also provides an important theoretical foundation for the design and optimization of intelligent tutoring systems.