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Abstract
This article initiates a dialogue between Chinese “Gu Qin” art and curriculum theory. “Gu Qin” is the ancient Chinese musical instrument which best embodies Chinese aesthetic notions. The ancient Chinese never regarded Gu Qin as only an instrument; they thought that performing on it was a process of experiencing life and self-cultivation. Therefore, the value of pursuing Gu Qin study is not only the skill that is mastered, but also the growth of the spirit. This orientation makes the teaching of Gu Qin a fight against instrumental rationalism and materialism. It highlights lived experience based on the unity of the subjective and the objective, and breaks the closed, predetermined teaching process to create openness and possibilities. All of these characteristics have much in common with the new perspectives on curriculum and can help us better understand what a curriculum and a music curriculum are.
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