The Orff method is one of the most popular music teaching systems in the world. It was first created by the famous educator and child musician Carl Orff and has since been inherited and developed by many experts. With the reform and opening up of China and the introduction of Orff’s music teaching method, the theoretical and practical aspects of music education in China have quietly changed. In this study, the effects of the Orff method and the traditional method on the interpersonal skills, self-esteem and well-being of music education undergraduates at GG University in China were investigated using an experimental control method. The results of the study showed that under both teaching methods, the interpersonal skills, self-esteem and happiness of the music education undergraduates in the experimental group were significantly higher than those in the control group after 12 weeks of the Orff teaching method intervention (p<0.05), therefore, it was concluded that the Orff teaching method could influence emotion regulation, strengthen positive emotions and regulate individuals’ negative emotions, enhance interpersonal skills, self-esteem and happiness, guiding the university students to face future development and challenges with confidence, maintaining their mental health, and promoting the better development of education. In the past, the study of the Orff music teaching method was only limited to the musical initiation of children from kindergarten to primary school. However, as more and more people around the world study and practice the Orff education system, it has been extended to secondary schools, universities and colleges. It has now been extended to a wide range of areas such as secondary schools, music classes in colleges and universities, music therapy and health for the elderly, with people of all ages enjoying the benefits of Orff music education. This study demonstrates that the Orff method can influence emotion regulation, strengthen positive emotions and regulate negative emotions of individuals, and enhance interpersonal skills, self-esteem and well-being.
Abstract: Background: Jin Yong, a prominent Chinese author, is often associated with the culture of "tea" in China. His martial arts novels are rich in tea culture, including tea ware, tea leaves, tea ceremonies, and tea etiquette, which are all significant Chinese cultural symbols closely related to traditional Chinese cultural concepts and Jin Yong's spiritual connotations. Methods: This paper employs semiotic theory to decode the tea culture symbols in Tian Long Ba Bu(Demi Gods and Semi Devils). Results: Demonstrating how these symbols not only create a Jianghu (lawless world) that combines killing and etiquette but also construct emotional concepts of various ethnic groups. Furthermore, these symbols convey Jin Yong's cultural spirit of "tea and the Dao, tea and emotions, tea and people." Conclusions: As the novel has been internationally recognized, these tea cultural symbols have become an iconic representation of the world's perception of China.
Background: The appearance of residential courtyards in Shandong is mediocre and cannot attract the attention of designers and researchers. Objective: This study attempts to answer the characteristics of typical courtyards in Shandong by exploring the internal relationship between typical residential courtyards in Shandong and regional culture. Methods: With literature, field, and image analysis, more than 100 village sites were investigated to determine the relationship between the form, distribution, and type of typical courtyard in Shandong and regional culture. Results: Based on the imaging method, the structural classification of the courtyard was consistent with the regional division in the Northern Song Dynasty. At the same time, the regional culture formed by river, coast, and mountain terrain is also an important factor affecting the distribution. Conclusion: The appearance of typical courtyard buildings in the Shandong region is weakened, emphasizing sociality and sustainability as the main characteristics.
Background: Mulan, an animated film produced by Disney and released in 1998, earned about $120 million in the United States and about $300 million worldwide, making it the second-highest-grossing family film of the year. Purpose: This paper compares the main characters of Mulan, General, and Father in the two versions of the film based on semiotics theory and cultural differences. It compares the Chinese and Western cultural elements. This helps us understand the different characteristics of the two versions of the film regarding cultural consciousness, cultural inclusion, and cultural exchange. This, in turn, helps us to tell Chinese stories and understand Chinese literature from different perspectives. Methods: This paper analyzes the cultural differences between Hua Mulan and China. This analysis is based on the four indexes of the power distance index, individualism, collectivism, uncertainty avoidance index, masculinity and femininity, self-indulgence, and restraint. Results: Based on the differences between these two versions of the film America is a low-power society with more individualism, so the image of Mulan gives more human rights and democracy. In contrast, China is a powerful society with more collectivism. Conclusion: Under the background of globalization, we should start from three aspects: 1)From the perspective of cultural discount theory, we should break down language barriers and avoid cultural discrimination. 2)According to Mason’s theory of the hierarchy of needs, film and television works are both tools and valuable stories. The culture should be incorporated into the story so that the audience can gain cultural identity in subtlety 3)The communication modes/means should be diversified, and the Chinese stories should be better spread by integrating media. These Chinese stories should be spread in a cross-cultural context.