Harmonizing Love Virtues in Music Education in Mainland China

Abstract

This paper explores the harmonious integration of Confucian moral values and officially sanctioned love-themed lyrics in music education across Mainland China. It addresses the main research question: What role do officially approved school songs, which embody themes of love related to three key relationships—(1) family and home, (2) teachers and friends, and (3) the Chinese Communist Party (CPC) and the Chinese nation—play in promoting the virtue of love through singing within Mainland China’s music education? By analyzing two sets of officially approved music textbooks for primary school students, consisting of a total of 24 volumes, this study reveals how love-themed lyrics serve as a medium for propagating political ideology while reinforcing traditional Confucian values among the younger generation. The research illustrates how love, as a fundamental virtue, is expressed and reinforced through these songs, highlighting their significance in fostering emotional and ethical development. The findings underscore the role of music education in cultivating a sense of community and national identity, as well as the interconnectedness of personal and collective values in shaping students’ moral frameworks.

1. Introduction

Confucius (551–479 BC), also known as Kongfuzi, was a highly esteemed philosopher and educator in ancient China whose influence on China’s education system and its political, social, and cultural development is widely recognized today (Tan, 2018; Xie et al., 2021). During the Zhou Dynasty (1046–256 BCE) in China, Confucianism emerged as a philosophical and ethical system that emphasized the inherent goodness of human nature, setting it apart from Western thought, which was shaped by the concept of original sin (Simionato, 2019).

The concept of harmony holds great significance in Chinese culture, emphasizing acceptance, tolerance, and mutual respect in specific situations (C. Y. Li, 2006; C. Y. Li & Düring, 2022; Q. Y. Guo & Cui, 2012). At the heart of Confucianism lies cultivating a virtuous character that positively influences the world through the concept of “cosmic harmony”. The emphasis on harmony in Chinese culture is closely tied to “group orientation”, where individuals from Chinese backgrounds prioritize fostering harmony within their social circles (Y. H. Huang et al., 2018; Leung & Bond, 1984; C. Y. Li, 2008; Lockett, 1988). Studies on Chinese harmony-oriented behaviors have revealed a strong inclination towards enhancing in-group harmony among Chinese individuals (Leung & Bond, 1984; C. Y. Li, 2006). This cultural framework, built upon the foundational principles of harmony, hierarchy, the cultivation of moral potential, and kinship (Buttery & Leung, 1998), operates at various levels, including families, communities, nations, and the global sphere.

Confucian moral values, love, and education are highly emphasized as essential elements of personal and societal development. At the core of Confucianism lies the concept of “ren” (“goodness”), which is believed to be an inherent moral sense present in every individual (Q. Y. Guo & Cui, 2012; Simionato, 2019). Confucianism places great importance on family love as the starting point of “ren”. According to Confucius, love is a fundamental virtue, and cultivating love within the family is the basis for fostering comprehensive love that extends to all individuals, aiming to establish harmonious relationships and develop moral character (C. Y. Li & Düring, 2022; Wei, 2023). Confucius taught that “a youth, when at home, should be filial, and abroad, respectful to his elders. He should be earnest and truthful. He should overflow in love to all” (Analects, 1.6). Love is regarded as an expression of moral duties and obligations extending beyond personal relationships to encompass the broader social fabric (P. Li et al., 2004).

This study seeks to illuminate the integration of love virtues within Mainland China’s music education framework, highlighting how officially sanctioned love-themed lyrics serve not only as educational tools but also as instruments for fostering sociopolitical harmony. By examining the interplay between love, moral education, and Confucian teachings, this research underscores the importance of cultivating virtuous relationships across family, school, and national contexts.

2. A Review of Confucian Moral Education and Love in Music Education

Chinese music education has been rooted in moral education principles, aiming to inspire virtuous living from ancient to contemporary times. Confucian thought remains central, emphasizing character cultivation through the arts, particularly music. The Confucian curriculum included the six classics, notably the Book of Music (Yueji), which outlines music’s role in moral development and societal harmony (Cook, 1995; Mullis, 2007).

In ancient China, the Yueji underscored music’s significance in nurturing moral character and promoting social harmony. It asserts that high-quality music resonates with individuals’ hearts, fostering gentleness and kindness. For instance, this text illustrates how music cultivates respect and love among rulers, ministers, families, and communities (C. Y. Li, 2008). Love transcends personal sentiment here, emerging as a foundational element for social cohesion and ethical behavior.

The importance of moral education and music endured through various Chinese dynasties, consistently reflecting Confucian ethics. Confucius believed that music profoundly shaped character, promoting the concept of “perfection through music” (Liu, 2014, p. 49). Both music and rituals share common values, contributing to an ideal life and state of mind (DeWoskin, 1982; K. Thomas, 1981). Politically, music upheld imperial authority, symbolizing good governance and stability while reflecting the harmony between humanity and the cosmos (Kirkendall, 2017; Lai & Mok, 1981; C. Y. Li, 2008; Ren et al., 2022).

Traditional Chinese music conveys noble moral emotions and qualities, such as patriotism, national spirit, and love for family and life. For instance, the song “Singing the Evening in Fishing Boats” captures the profound bond ancient Chinese fishermen felt for the rivers and mountains of their homeland, embodying the patriotic spirit inherent in traditional music (T. Wang, 2009, p. 299). Additionally, popular plays such as “Butterfly Lovers”, a Chinese legend set in the Eastern Jin Dynasty (266–420 AD) and recognized as one of China’s Four Great Folktales by the folklore movement in the 1920s, and “Peony Pavilion”, a romantic tragicomedy by dramatist Tang Xianzu written in 1598, illustrate virtues like kindness, love, and tolerance, imparting positive energy and moral values to audiences (T. Wang, 2009, p. 299). In this context, love emerges as a guiding principle that fosters benevolence and empathy in leadership and governance.

From the early twentieth century to the pre-1978 period, the interplay of Confucian morals and music education revealed significant cultural and educational philosophies. Confucian teachings emphasized filial piety and loyalty, which aligned closely with John Dewey’s focus on experiential learning and democratic ideals. Dewey’s influential book Moral Principles in Education, published in 1909, profoundly impacted the theory and practice of moral education, including in China. His lectures–such as “Nationalism and Internationalism” and “Moral Education–Social Aspects”–illustrated his evolving ideas about the role of education in society (Howlett et al., 2019, p. 74). By emphasizing community and social interaction in moral education, Dewey’s ideas provided a fresh perspective that complemented Confucian ideals, enabling a more holistic approach to nurturing virtuous citizens.

During this transformative period, music education also evolved significantly. Patriotic songs, particularly “March of the Volunteers”, were crucial in shaping national identity and communal values. “March of the Volunteers” became a rallying cry during the War of Resistance against Japan (1937–1945), encapsulating a spirit of unity and resilience with its powerful lyrics: “Arise, we who refuse to be slaves! With our flesh and blood, let us build our new Great Hall!… Brave the enemy’s gunfire, march on! March on! March on!” (The Government of the People’s Republic of China, 2024, translated by the author). The song served not only to instill patriotic fervor but also reinforced moral lessons about sacrifice, courage, and collective responsibility—fundamental tenets of Confucianism and Dewey’s educational philosophy. Here, love for one’s country and community is expressed through collective action and shared values, reinforcing individual bonds.

The establishment of the PRC in 1949 posed challenges to Confucianism, with increasing criticism of its influence. The Cultural Revolution (1967–1976) intensified the suppression of Confucianism, aligning music education with political ideology. Revolutionary songs became dominant, promoting loyalty to the state and socialist values at the expense of Confucian teachings. The saying “Loyalty to the Party surpasses filial piety” exemplified this shift, intertwining love for the community with political indoctrination. Numerous musical compositions emerged during the Cultural Revolution that celebrated leaders, the Party, socialists, and the picturesque beauty of the country’s natural landscapes. Examples include “On the Golden Hill in Beijing”, adapted by Zhuo Ma (1928–2014) from a Tibetan folk song, “I Dedicate the Petroleum for My Motherland” by Yongcheng Qin (1933–2015), and “Walk Slowly, Horse” by Shengmao (1928–2007) (Qi, 2021, p. 15). The concept of “collective love” was emphasized, encouraging participation in mass activities, such as rallies, communal singing, and political campaigns, further highlighting the role of love in fostering a sense of belonging and shared purpose.

Following the economic reforms post-1978, there was a resurgence of Confucian ethics, moral education, and music education, driven by both government initiatives and grassroots movements (C. L. Wang, 2023). The MoE recognized music’s role in fostering moral values, leading to significant milestones in moral education (Tang & Wang, 2021). The government strategically repackaged revolutionary songs as popular music, merging cultural nationalism with political propaganda (Mei, 2020; Q. Wang, 2012).

The distinction between traditional Confucian teachings and modern state ideology in contemporary China is significant. The emergence of “popular Confucianism” in the early 2000s saw ordinary individuals engaging with Confucian values independently (Billioud & Thoraval, 2015). This grassroots movement complemented top–down influences in shaping educational frameworks, integrating Confucian teachings into various educational aspects (Dolphin Media, 2021a, 2021b).

Modern state ideology in China refers to the principles and values promoted by the Chinese Communist Party (CCP) to guide governance and societal development. This ideology emphasizes socialism with Chinese characteristics, nationalism, economic modernization, and maintaining social stability. It aims to unify the populace under a shared vision while often integrating elements of traditional culture to bolster legitimacy.

During the Cultural Revolution, Confucian values were primarily rejected in favor of revolutionary fervor, leading to a clear ideological divide. In contrast, today’s landscape reflects a synthesis of these ideologies. President Xi Jinping’s agenda increasingly invokes Confucian principles, recognizing Confucius as one of the most influential figures in Chinese history. By drawing on China’s glorious past, the Chinese state seeks to create a robust ideological foundation for its 21st century governance, thus bridging traditional teachings with modern state objectives (Z. J. Huang et al., 2016; Vickers & Chen, 2024; Yoing, 2023). In this context, President Xi emphasizes the critical role of family ties, education, and values in fostering national development and social harmony, urging Chinese households to integrate their love for family with patriotism and to nurture core socialist values in the younger generation. He asserts that the future of families is intricately linked to the nation’s future, encouraging households to harmonize their love for family with their love for their country (Xinhua News, 2025). This framework shapes the national ethos and influences the approach to music education within schools, reflecting a blend of traditional and modern values that resonate in national and global contexts.

Furthermore, this intertwining of familial, national, and global values is echoed in the Chinese school curriculum, which aims to develop citizens with global awareness and competence. This curriculum reflects a Confucian emphasis on collectivism, promoting the idea that individuals thrive in isolation and as part of a larger community. By aligning educational goals with China’s aspirations for modernization in a globalized context, the curriculum seeks to instill a sense of responsibility that transcends local and national boundaries. Thus, while fostering a love for family and country, it also encourages students to embrace global values, cultivating a generation that recognizes the importance of empathy, cooperation, and respect for diverse cultures. This holistic approach not only strengthens familial and national ties but also prepares citizens to contribute positively to the global community, embodying a harmonious blend of love for family, nation, and the world (C. L. Wang, 2023; L. P. Wang, 2021, 2023).

This section illustrates how patriotic songs have historically shaped nationalism in China, paralleling regimes like Nazi Germany and the Soviet Union. Songs have served as propaganda tools for instilling national pride and moral education, evolving from overt coercion to market-driven strategies that engage citizens emotionally. Through this lens, the enduring themes of love and moral education remain central to music education discourse in China, highlighting love’s role in promoting social harmony, community values, and ethical behavior.

3. Materials and Methods

This study examined the integration of Confucian moral values into Mainland China’s school music education system, considering the country’s contemporary communist values. In this paper, the terms the “People’s Republic of China (PRC)” and “Mainland China” are used interchangeably to refer to the region governed by the Chinese Communist Party (CCP). China’s President Xi Jinping has consistently emphasized that national unity is the cornerstone of love for family and home (The State Council, The People’s Republic of China, 2025). Recently, he reiterated this belief, stating the following: The foundation of the world lies in the State; the foundation of the State lies in the family (China Daily, 2025). President Xi has on numerous occasions underscored the significance of nurturing affection for family and nation.

Having lived and engaged with the music education landscape across various Chinese cities for the past three decades, the author of this paper will offer a nuanced understanding of the cultural and educational contexts involved. The author has translated all the original texts from the official documents and approved the music textbooks referenced in this study, ensuring an authentic representation of the material. Furthermore, the translations of song titles and lyrics have been refined in collaboration with an editor who is a native English speaker, enhancing their clarity and cultural relevance. This rich background will allow for a critical analysis of the pedagogical significance of school music and songs in Mainland China, particularly their role in promoting the virtue of love across various social sectors.

3.1. Context and Rationale

The fundamental elements of individual growth are family, school, and society. This study focuses on the effects of music education on children’s social skills, well-being, concentration, and daily life (Boyce-Tillman, 2000; Hallam, 2010a; O’Neill, 2017; Váradi, 2022). Music’s unique ability to evoke emotions, foster empathy, and promote interpersonal connections has been well recognized (Hallam, 2010b; Hargreaves & North, 1999), with participation in music activities linked to improved self-esteem and enhanced emotional expressiveness (Hallam, 2010a, 2010b; O’Neill, 2017). Music also serves as a powerful tool for expressing national pride and cultural heritage, reinforcing collective identity through curricula that often include national anthems and state-approved compositions, and fostering a sense of belonging and loyalty to the nation (Smith, 1991).

While patriotic songs are essential to promoting respect and citizenship, music educators must critically examine the implications of nationalism in a globalized context (Hebert & Kertz-Welzel, 2012) that initiates an international dialog on this topic, suggesting that values such as peace and international understanding may be more relevant than traditional patriotism. Notably, regimes in countries such as Germany, Russia, North Korea, Cuba, South Africa, and China have utilized songs to influence nationalism, leveraging music to foster unity, loyalty, and ideological support (Hebert & Kertz-Welzel, 2012).

Chinese culture is often characterized as highly collectivistic, in contrast to individualistic cultures found in the West, as described by Hofstede (1984, 1993) and Hofstede and Bond (1988). Given the emphasis on collectivism in Chinese culture, incorporating Confucian moral values into music education is a powerful tool for nurturing social–emotional development in school children. Through engaging with music, children develop a deeper understanding of Confucian values such as filial piety, benevolence, and harmony, which are integral to Chinese collectivism. Kallio (2024) has noted that music education is a fundamentally political endeavor (also see Kallio et al., 2021; Kertz-Welzel, 2022), as it inherently involves inclusion and exclusion and serves as an everyday space where individuals can exercise their agency, navigate power dynamics, and explore their identity.

The “Morality and Rule of Law Curriculum Standards in Compulsory Education” (2022 edition), hereafter referred to as “Morals and Law”, serves as the guiding framework for the fundamental task of moral education. This curriculum has adopted an integrated moral and legal education approach across primary, secondary, and higher education institutions. In Grades One to Six, political identity education focuses on moral and emotional development, guiding students to foster a love for the Party, patriotism, socialism, and collective values. This foundational education aims to cultivate a desire for beauty and goodness. In this context, T. Guo (2020, p. 49) explained that the portrayal of “President Xi Jinping and his wife Peng Liyuan as a modern loving couple” is a novel political interpretation of love that transcends mere affection for one’s country. This interpretation emphasizes cultivating “domestic harmony” to achieve social and national stability. Coupled with songs dedicated to their love, such as “You Should Marry Someone Like President Xi”, these representations promote an idealized version of family and domestic morality, fostering a fresh political understanding of love (T. Guo, 2020, p. 49).

In the PRC, schools must use textbooks approved exclusively by the Ministry of Education (MoE). The Ministry of Education [MoE] (2022a, 2022b) has introduced a guide to promote the study of Xi Jinping among students to develop a new generation capable of revitalizing the nation through a comprehensive focus on moral, intellectual, physical, and esthetic education (also see Wong, 2021). The guiding principles for arts education, including music, in Chinese schools at the compulsory education level emphasize the importance of moral education, intellectual education, physical and esthetic education, and labor education (Lin & Jackson, 2023; Ministry of Education [MoE], 2022b, pp. 1–2). Music education facilitates the cultivation of prosocial behaviors and attitudes among students by infusing lyrics with love, compassion, and respect for others.

Building upon the discussion of Confucian moral education in music, this section will explore the transformative power of love in promoting social harmony and moral development in Mainland China. Central to this examination is the standardized moral education curriculum implemented in primary and secondary schools, which parallels social studies curricula in countries such as the United States and Australia (Tang & Wang, 2021).

3.2. Purpose, Argument, and Research Questions

This study explores the integration of Confucian values and love virtues within music education in Mainland China. By examining contemporary practices, it aims to illustrate how love, as a fundamental virtue, is expressed and reinforced through singing official songs. The research posits that harmonizing Confucian values with the principles of love can enrich music education, fostering emotional and ethical development among students.

The study addresses the following main research question:

What role do officially approved school songs, which embody themes of love related to three key relationships—(1) family and home, (2) teachers and friends, and (3) the Chinese Communist Party (CPC) and the Chinese nation—play in promoting the virtue of love through singing within Mainland China’s music education?

3.3. Scope and Analysis

Textbooks play a crucial role in shaping the morality of Chinese students, as reflected in their content and focus. Tse and Zhang (2017) highlight that these textbooks significantly contribute to the transmission of cultural values, establishing standards for knowledge and cultural norms (also see Jackson et al., 2024). Consequently, they serve as effective tools for promoting moral development and character formation among students. Specifically, moral education textbooks in China adhere to a cohesive guideline designed to cultivate modern civic consciousness (P. Li et al., 2004; Tang & Wang, 2021).

Focusing on primary school music education is crucial, as this stage significantly influences students’ musical skills and moral values during key developmental years. Early childhood is the best age for character building and helping children learn the importance of value education (Cline, 2015; Maharani & Rahma Wati, 2023; Mindes & Donovan, 2001). Character education emphasizes the importance of societal values such as honesty, fairness, responsibility, and respect for oneself and others, as well as the importance of being a good citizen (Pike, 2010; Temiz, 2016). The family serves as the primary environment for this education, with the attitudes and behaviors of family members significantly impacting a child’s healthy development (Gökçek, 2007). Additionally, effective character education relies on a strong partnership between family and school, ensuring that lessons learned at home and in the classroom reinforce one another (Agboola & Tsai, 2012; K. J. Thomas et al., 2022). By integrating themes of love, we foster empathy, emotional intelligence, and social connections, enabling students to understand and express their feelings constructively. This holistic approach nurtures their musical abilities and shapes their character and values.

Following Braun and Clarke (2006), the thematic analysis delves deeper into the data, identifying and exploring overarching themes and patterns (also see Creswell, 2014; Matsunobu & Bresler, 2014). Analyzing both song titles and lyrics provides rich qualitative insights into how Confucian love-infused songs resonate with the Chinese Government’s objectives of promoting traditional cultural values and strengthening national identity.

This study employs rigorous qualitative methodologies, specifically content and thematic analysis, focusing on song titles and lyrics. Content analysis systematically categorizes and quantifies the presence of love themes within the units, song titles, and lyrics, allowing for a detailed examination of how these themes are represented. This study aims to understand how love is woven into music education comprehensively. Qualitative analysis enables a deeper exploration of the emotional dimensions and cultural contexts that shape students’ perceptions and values, which quantitative methods may overlook. To enhance methodological transparency, this study employs a systematic coding framework for analyzing themes of love within the context of music education. The coding process (Creswell, 2012, 2014; Saldaña, 2009) follows these key steps:

• Initial Coding:

  ○

  Categories of Love: Identify and categorize instances of love as they relate to the three key relationships: family and home, teachers and friends, and the CPC and the nation.

  ○

  Emotional Expressions: Analyze song lyrics’ emotional language and imagery to capture how love is articulated.

• Focused Coding:

  ○

  Reinforcement of Confucian Values: Assess how specific lyrics reinforce Confucian principles such as filial piety, loyalty, and community belonging.

  ○

  Political Ideology: Examine how the songs serve as a medium for propagating political ideology and national identity.

• Thematic Coding:

  ○

  Integration of Love Virtues: Explore overarching themes regarding integrating love virtues in music education.

  ○

  Impact on Community and Identity: Investigate how these themes contribute to students’ sense of community and national identity and the interconnectedness of personal and collective values.

This study analyzes a series of music textbooks published by the People’s Education Press (PEP) and the People’s Music Publishing House (PMPH) titled Music (Yinyue), which are used for Grades One to Six, along with other subjects related to moral content supervised by the Ministry of Education (MoE). Both the PEP, founded in 1950, and the PMPH, established in 1954, operate under the direct oversight of the MoE, ensuring alignment with national educational standards. Each volume of the PEP’s music textbook series includes six units, each featuring various songs centered around a specific theme. Similarly, the PMPH series mainly consists of eight units, with songs that align with each unit’s theme. Both series provide supplementary materials at the end of the final unit. These textbooks are widely adopted in significant cities throughout Mainland China.

The following section will explore how the theme of love shapes students’ relationships with their home, school, and nation by integrating love-based approaches into music education to reinforce moral values and encourage a sense of responsibility within the framework of the “Morals and Law” curriculum. The approved music textbooks in Mainland China consistently highlight official songs featuring themes of love (PMPH, 2023a, 2023b, 2023c, 2023d, 2023e, 2023f, 2023g, 2023h, 2023i, 2023j, 2023k, 2023l; PEP, 2023a, 2023b, 2023c, 2023d, 2023e, 2023f, 2023g, 2023h, 2023i, 2023j, 2023k, 2023l for Grades One to Six) in the school music curriculum, further embedding these values in students’ educational experiences. The PMPH textbooks include 250 songs across all grades, while the PEP textbooks contain 270 songs. These totals reflect the number of songs from Grades One to Six for both publishers, with variations in the number of songs for each term.

In addition to the theme of love related to families, home/community, and the CPC, other song titles and lyrics primarily focus on nature, animals, and rhythmic learning, with no specific emphasis on love.

4. Results

4.1. Singing for a Loving Family and Home

Confucianism has profoundly shaped the family structure in Chinese society, establishing it as the cornerstone of social order (Kim, 2020). The term for family (家, jia) encompasses a wide range of meanings, including the nuclear family, clan relationships, and even feudal estates, as noted by Ambrose King (1985, p. 61). Similarly, the term for home (家园, jiayuan) reflects a sense of belonging and comfort. In this context, educational materials in Mainland China highlight the importance of family and home in nurturing values, warmth, and love (Sun et al., 2023).

Moral education in Mainland China encompasses officially approved nursery rhymes and songs that are rich in cultural significance. These nursery rhymes connect children with the traditions of their grandparents and parents, fostering a sense of cultural continuity and pride (Dolphin Media, 2021a, pp. 1–2; 2021b, pp. 1–2). For instance, the nursery rhyme “The New Year” captures the essence of joyful festivities, vividly portraying the warmth and excitement of family traditions as conveyed by its lyrics (Dolphin Media, 2021b, p. 3):

• The New Year is here; firecrackers are set off,
• The crackling is lively, and the fun will not stop.
• Playing with dragon lanterns, walking on stilts,
• Making dumplings and steaming rice cakes, oh, what a thrill!
• Grandma rubbed her eyes with laughter and cheer,
• Moreover, Grandpa was so happy, his joy crystal clear.

This lyrical depiction honors the festive spirit of the New Year and immortalizes the love and happiness shared between generations.

Other officially approved songs poignantly express love within family relationships, emphasizing bonds with mothers (see

Table 1. Expressions of love in song lyrics: bonds with family.

Textbooks	Units and Song Titles
(PEP, 2023c, pp. 8–9)	Unit 1: I Wish to live in a Fairy Tale Little Red Cap (A children’s song from Brazil)
(PEP, 2023i, pp. 46–47)	Unit 6: New Year Concert Best Wishes Song (Composed by a Chinese composer)
(PEP, 2023l, p. 58)	Supplementary Song: My Mother Taught Me a Song (Melody adapted from the Czech Republic by Antonín Dvořák)
(PMPH, 2023b, pp. 36–37)	Unit 6: Beautiful Night Little Baby Has Gone to Sleep (Composed by a Chinese composer)
(PMPH, 2023c, pp. 40–41)	Unit 6: Start Dancing Little Red Riding Hood (A children’s song from Brazil but sung in Chinese)
(PMPH, 2023d, pp. 2–3)	Unit 1: Spring Is Coming The Big Tree Mother (Composed by a Chinese composer)
(MPH, 2023e, pp. 26–33)	Unit 5 for Mother’s Songs: My Mother’s Heart (Composed by a Chinese composer) Mama (Melody adapted from Italy composed by Cesare Andrea Bixio and sung in Chinese) Mama, My Dear Baby (Composed by a Chinese composer) My Mother Taught Me a Song (Melody adapted from the Czech Republic composed by Antonín Dvořák) Singing a Lullaby to My Mother (Composed by a Chinese composer)
(PMPH, 2023h, pp. 36–37)	Unit 6: Lullaby A Lullaby (Melody adapted from Austria composed by Franz Schbert)
(PMPH, 2023i, pp. 26–27)	Unit 6: My Lovely Home Grandma’s Penghu Bay (Composed by a Chinese composer)
(PMPH, 2023k, pp. 8–9)	Unit 2: Melodious Folk Songs Mama Gesang La (Composed by a Chinese composer)
(PMPH, 2023l, pp. 34–35)	Unit 6: Happy Sunshine Grandpa Banyan Tree (Composed by a Chinese composer)

for the units and the song titles) and the cherished sense of home and village (see

Table 2. Expressions of love in song lyrics: bonds with village and hometown.

Textbooks	Units and Song Titles
(PEP, 2023a, p. 30)	Unit 4: Animals in Music The Little Frog Is Looking for Home (Composed by a Chinese composer)
(PEP, 2023c, pp. 36–37)	Unit 5: Animation City Our Family Home (Composed by a Chinese composer)
(PEP, 2023d, pp. 18–19)	Unit 3: Animals in Music Please Come to See Our Village (A Spanish children’s song)
(PEP, 2023f, pp. 12–19)	Unit 2: My Lovely Home Little Boat (Composed by a Chinese composer) My Loving Home (Melody adapted from English composer Henry Bishop The Neiva River (A Colombian song)
(PEP, 2023h, p. 48)	Supplementary song: My Beautiful Village (A folk song from Spain)
(PMPH, 2023d, pp. 50–54)	Unit 8: Xinjiang Is Good Xinjiang Is a Good Place (A folk song from Uyghur) I Love Snow Lotus (Composed by a Chinese composer) Xinjiang Is Good (Composed by a Chinese composer)
(PMPH, 2023e, p. 50)	Unit 8: Harvest Songs and Dances Now My Hometown Is Full of Mountains and Memories (A folk song from Korea)
(PMPH, 2023f, pp. 50–55)	Unit 8: Songs of the Hometown Pamir, How Beautiful My Hometown Is (Composed by a Chinese composer) The Child in the Mountains Loves the Mountains (Composed by a Chinese composer) Little Baran, the Sun of Childhood (Composed by a Chinese composer)
(PMPH, 2023g, pp. 8–13)	Unit 2: The Beauty of Home Willow Green (A folk song from Jiagnsu) Great Salt Lake (A folk song from the Ewenki ethnic group) My Hometown is Beijing (Composed by a Chinese composer)
(PMPH, 2023i, pp. 26–29)	Unit 4: My Lovely Home Grandma’s Penghu Bay (Composed by a Chinese composer) Home On the Ranch (A children’s song from the United States)
(PMPH, 2023i, pp. 32–39)	Unit 5: Hometown Live in the Little Village (Composed by a Japanese composer) Why Does not Say My Hometown Is Good? (Composed by a Chinese composer) The Little Path of My Hometown (Composed by a Chinese composer)

for the units and the song titles). Notably, fathers seem absent from mentions in song titles and lyrics. When the units are included in the tables, it indicates that the songs listed below are part of each respective unit. These songs primarily originate from China, encompassing traditional folk and contemporary compositions.

The song “Best Wishes Song” is a joyful Chinese New Year anthem that celebrates family togetherness and the exchange of good wishes (PEP, 2023i, pp. 46–47). Its lyrics express hopes for a blessed life, highlighting the importance of good learning and hard work. The song fosters unity and love among family members, encouraging students to cherish relationships and support one another in pursuing happiness and prosperity. Notable examples of Chinese songs celebrating maternal love include “Little Baby Has Gone to Sleep” (PMPH, 2023b, pp. 36–37), “The Big Tree Mother”, which uses trees as symbols of affection (PMPH, 2023d, p. 2), and “My Mother’s Heart” (PMPH, 2023e, p. 26) (see Table 1). These songs reinforce the significance of familial bonds, particularly those with mothers.

Moreover, songs from various cultures, sung in Chinese, highlight universal themes of love and nurturing, beginning with the profound bond between mothers and their children. For instance, the Brazilian song “Little Red Cap” narrates the story of a girl delivering cakes to her grandmother and later returning home to sleep beside her mother, evoking cherished dreams and memories through its Chinese lyrics (PEP, 2023c, pp. 8–9) (see Table 1). The song “My Mother Taught Me a Song”, as a supplementary piece with a melody adapted from the Czech Republic by composer Antonín Dvořák (PEP, 2023l, p. 58), beautifully illustrates a mother’s love as she teaches her child to sing, capturing the warmth in her eyes (PEP, 2023i, p. 58). The song “Grandfather Banyan Tree” conveys that despite the aging of the banyan tree, it continues to find joy in the company of its children and grandchildren, symbolizing the enduring love and happiness that binds families together (PMPH, 2023l, pp. 34–35). These songs celebrate maternal love and reinforce connections to home.

As we transition from the intimate realm of motherhood to the broader context of family and community, we find that the themes of love for home, village, and community are represented in more units and songs than motherly love (see Table 2). The unit dedicated to singing songs about Xinjiang in China’s school music textbooks emphasizes themes of love for home and community, highlighting the deep connection between cultural identity and a sense of belonging (PMPH, 2023d, pp. 50–54). Other foreign songs are integrated into various units of the music textbooks, including “My Lovely Home” (an English song sung in Chinese) (PEP, 2023f, pp. 14–15), “My Beautiful Village” (a Spanish folk song sung in Chinese) (PEP, 2023h, p. 48), “Please Come to See Our Village” (a Spanish song sung in Chinese) (PEP, 2023c, pp. 18–19), and “Love in a Small Village” (a Japanese song sung in Chinese) (PMPH, 2023i, p. 33). “The Neiva River” (a Colombian song sung in Chinese) beautifully embodies the essence of family love and unity (PEP, 2023f, p. 17), inviting listeners to reflect on the joy of collaboration and the warmth of life in a charming village.

These songs highlight the universal values of community and belonging. These songs celebrate the love that binds families and neighbors, fostering a sense of togetherness.

4.2. Cultivating Bonds: Honoring Teachers and Friends Through Songs

Respect for teachers and the value of education have long been fundamental social norms in China. September 10 marks Teachers’ Day, a nationwide occasion for celebrating and honoring teachers in various ways, and it is recognized as an official holiday. The “Morals and Law” curriculum underscores the relationship between teachers and students, encouraging educators to adopt a mission-driven approach that prioritizes moral integrity, deep knowledge, and compassion in their roles (Niu, 2023, pp. 19–21). The textbook Morality and Law (PEP, 2023a, unit 1) emphasizes the importance of students respecting themselves, their classmates, and their broader community, as developing these prosocial attitudes is critical for fostering a positive and supportive school environment. Loving one’s school community entails a sense of belonging and deep appreciation for teachers and fellow students.

Among the units in the PEP and PMPH music textbooks, only one in each focuses on fostering respect for teachers (PMPH, 2023f, unit 7) and promoting a happy campus (Unit 3, PMPH, 2023g) (see

Table 3. Expressions of love in song lyrics for teachers and the school environment.

Textbooks	Units and Song Titles
(PMPH, 2023f, pp. 42–47)	Unit 7: Hello, Teacher Whenever I Walk Past the teacher’s Window (Composed by a Chinese composer) I Love Aglaia Odorata (Composed by a Chinese composer) Flying Petals (Composed by a Chinese composer) Sweet Secret (Composed by a Chinese composer)
(PMPH, 2023g, pp. 14–19)	Unit 3: Happy Campus Oh, Ten Minutes (Composed by a Chinese composer) Please Come to Sing (An Italian Venetian folk song)

). Themes of respect and admiration for teachers are prominent in the song lyrics, highlighting their significant impact on students’ education and personal development. For instance, “Whenever I Walk Past the Teacher’s Window” (PMPH, 2023f, p. 42) acknowledges teachers’ dedication to nurturing the next generation for the betterment of society. Similarly, “I Love Aglaia Odorata” beautifully conveys students’ admiration for their beloved teachers, drawing a parallel between their affection and the small yet resilient Aglaia odorata plant (PMPH, 2023f, p. 44). Additionally, “Flying Petals” (PMPH, 2023f, p. 44) communicates best wishes to teachers through the fragrant symbolism of petals. Furthermore, “Sweet Secret” (PMPH, 2023f, pp. 46–47) serves as a heartfelt tribute, expressing gratitude for teachers’ guidance and likening their influence to fluttering letters and flying petals that carry good wishes (PMPH, 2023f, p. 45). The song “Oh, Ten Minutes” celebrates the joy of students having fun and playing together during lesson breaks, while “Please Come to Sing”, an Italian folk song performed in Chinese, highlights the happiness of togetherness through song, contributing to a vibrant campus atmosphere (PMPH, 2023g, p. 14).

Officially approved songs are vital in encouraging students to collaborate in singing and participate in music activities, fostering strong friendship bonds. These songs focus on friendship in singing songs, characterized by sharing joy in creating music and emotional expression, strengthening the bond between friends, and creating lasting memories (see

Table 4. Expressions of love in song lyrics celebrating friendship.

Textbooks	Units and Song Titles
(PEP, 2023a, pp. 20–29)	Unit 3: We Are All Good Friends Looking for Friends (A Chinese nursery rhyme) Good Friends (Composed by a Chinese composer) Two Little Elephants (Composed by a Chinese composer) Children from Various Ethnic Groups Are Together (Composed by a Chinese composer) The Yi Children are Truly Happy (Composed by a Chinese composer)
(PEP, 2023d, pp. 44–51)	Unit 6: Children’s Games Clap Hands to Make Patterns (A children’s song from Beijing) Happy Clapping Song (A Traditional English Children’s Song) The Little Mouse Climbs the Lantern (A Chinese nursery rhyme)
(PEP, 2023k, pp. 46–47)	Unit 6: The Olympic Style You and Me (The official theme song of the 2008 Summer Olympics held in Beijing) Hand in Hand (The official theme song for the 1988 Summer Olympics held in Seoul)
(PMPH, 2023a, pp. 2–6)	Unit 1: Good Friends What Is Your Name? (Composed by a Chinese composer) Pinky Promise (Composed by a Chinese composer)
(PMPH, 2023b, pp. 16–19)	Unit 3: Hand in Hand The Flock of Geese Flies (Composed by a Chinese composer) Counting Ducks (Composed by a Chinese composer)
(PMPH, 2023c, pp. 36–41)	Unit 6: Dancing Together The Doll and the Little Bear Dance (Unknown source and composer)
(PMPH, 2023d, pp. 44–49)	Unit 7: Dancing to Musical Notations Musical Little House (Composed by a Chinese composer) Bamboo Flute (A folk song from the Han ethnic group)
(PMPH, 2023f, pp. 16–21)	Unit 3: Our Friends The Naughty Cuckoo (An Austrian nursery rhyme) Willow Tree Girl (Composed by a Chinese composer)
(PMPH, 2023g, pp. 16–21)	Unit 3: Happy Campus Oh, Ten Minutes (Composed by a Chinese composer) We Come to Sing (An Italian Venetian folk song)
(PMPH, 2023g, pp. 42–49)	Unit 7: Wish You Happiness If You Are Happy, Clap Your Hands (Composed by a Japanese composer)
(PMPH, 2023h, pp. 42–49)	Unit 7: Echo Echo of Friendship (Composed by a Chinese composer)

). Besides singing, music textbooks incorporate activities that enhance this sense of togetherness, such as attending school events, creating harmonious melodies, playing games, and enjoying each other’s company. For example, songs like “You and Me” and “Hand in Hand” beautifully embody the spirit of friendship and unity, performed in Chinese (PEP, 2023k, p. 47).

Furthermore, units within music textbooks emphasize the joy of friendship and the importance of unity across cultures. Chinese songs such as “Looking for Friends” and “Good Friends” celebrate the connections we form, while “Two Little Elephants” adds a playful touch (PEP, 2023a, Table 4). Additionally, “Being Together with Little Friends from Multiple Ethnic Groups” highlights cultural diversity, and “Daughters from the Yi Family are a Blessing” honors the unique contributions of various communities (PEP, 2023a, pp. 26–28). The unit titles such as “We Are All Good Friends” (PEP, 2023a), “Children’s Games” (PEP, 2023d, unit 6), and “The Olympic Style” (PEP, 2023k, unit) exemplify these themes. For instance, the song “Echo of Friendship” captures the essence of meaningful connections in human life, underscoring the importance of fostering positive relationships (PMPH, 2023h).

Through these songs, the educational framework reinforces positive values and cultivates a sense of belonging and appreciation among students, teachers, and their school community.

4.3. Singing to Promote Love, Unity, and Devotion to the Chinese Communist Party (CCP) and the Chinese Nation

Singing to promote love, unity, and devotion to China is centered around two primary themes: love for the CCP and love for the nation of China. Songs express ideological devotion to the CCP, establishing a strong connection between national pride and support for the governing political entity. Besides some folk songs from other Chinese ethnic groups, these songs, written by contemporary Chinese composers, often emphasize the importance of collective identity, reinforcing that loyalty to the Party is synonymous with loyalty to the nation.

Table 5. Expressions of love and appreciation for the Chinese Communist Party.

Textbooks	Units and Song Titles
(PEP, 2023e, pp. 22–29)	Unit 3: Marching Songs The Pioneers Party Song for Chinese Youth (Composed by a Chinese composer) Song for the Trumpet Player (Composed by a Chinese composer) Raise the Flag (Composed by a Chinese composer)
(PEP, 2023f, pp. 20–31)	Unit 3: Stories in Music Communist Party Song for Children (Melody adapted by a Russian composer Dmitri Shostakovich) Selling Newspapers (Composed by a Chinese composer) I Am the People’s Little Cavalry (Composed by a Chinese composer) Song of the Two Little Cowherds (Composed by a Chinese composer)
(PMPH, 2023d, pp. 8–15)	Unit 2: Unforgettable Songs Chinese Young Pioneers Team Song (A Chinese revolutionary song with an unknown composer) Song for Selling Newspapers (Composed by a Chinese composer) The Pioneers Party Song for Chinese Youth (Composed by a Chinese composer) We Have a Red Shining Heart (Composed by a Chinese composer)

highlights various songs that express love and appreciation for the CCP, primarily focusing on themes of bravery and devotion among children as future communists. These songs, predominantly from China, are categorized within different textbook series. For instance, the song “The Pioneers Party Song for Chinese Youth” features lyrics that celebrate the successors of Chinese communism, proclaiming “the glorified successors of revolution, loving the motherland, and loving the people… never feel difficulty, never fear enemies, and work diligently… We are the successors of Chinese communism” (PEP, 2023e, pp. 22–23). Similarly, the “Chinese Young Pioneers Team Song” poses the question of whether children are ready to become the masters of the future, emphasizing their role as successors of Chinese communism as they march toward a beautiful world (PEP, 2023f) (see Table 5). The repeated references to being “red-hearted” and “communist children” reflect a broader cultural narrative aimed at instilling pride and responsibility regarding their societal roles. These songs instill values of loyalty, unity, and collective responsibility in young learners, aligning with Communist Party ideology.

Transitioning from the focus on the CCP,

Table 6. Expressions of love and appreciation for the Chinese nation.

Textbooks	Units and Song Titles
(PEP, 2023a, pp. 2–19)	Unit 2: I Love My Home Village, I Love My Motherland (Composed by a Chinese composer) The Anthem of the PRC (Composed by a Chinese composer) The National Flag Is Very Beautiful (Composed by a Chinese composer) Grassland Is My Homeland (A folk song from Mongolia) I Love My Home Village, I Love My Motherland (Composed by a Chinese composer) Laughing Baby (A folk song from Uyghur)
(PEP, 2023b, pp. 36–45)	Unit 5: 56 Flowers Qi Duo Lie (A folk song from the Hani group in Yunnan Province) Brave Oroqen People (A folk song from the Oroqen ethnic group in Inner Mongolia) Protect Little Lambs (A folk song from the Lisu ethnic group in Yunnan Province) Naiyo Nai (A folk song from the Tu ethnic group in the Hunan Province)
(PEP, 2023d, pp. 26–33)	Unit 4: 56 Flowers Axilixi (A folk song from the Guizhou’s Yi ethnic group) My Home is In Shigatse (A folk song from Tibet)
(PEP, 2023h, pp. 12–21)	Unit 2: 56 Flowers Singing Mountain Song (A folk song from the Zhuang ethnic group) Sing to My Beautiful Home Village (A folk song from the Miao ethnic group) I have not Sung for So Long That I Forgot the Songs (A folk song from the Bouyei ethnic group) Little Goat (A folk song from the Dong ethnic group)
(PEP, 2023j, pp. 10–19)	Unit 2: 56 Flowers Blowing the Qiang Flute and Dance at the Pottery Village (A folk song from the Qiang ethnic group) A Lou Lou (A children’s song from the Yi ethnic group)
(PEP, 2023k, pp. 2–11)	Unit 1: My Motherland My Chinese Heart (Composed by a Chinese composer) The Spring Story (Composed by a Chinese composer) The Pearl of the Orient (Composed by a Chinese composer) The Daughter from One Mother (Composed by a Chinese composer) My Motherland (Composed by a Chinese composer) I and My Motherland (Composed by a Chinese composer)
(PEP, 2023l, pp. 26–33)	Unit 4: 56 Flowers Raise a Glass to Celebrate (A folk song from the Uzbek ethnic group) Ga Da Mei Lin (A folk song from Mongolia) A Pair of White Doves (A folk song from Qinghai) I Love My China (Composed by a Chinese composer)
(PEP, 2023l, pp. 26–33)	Unit 5: Mother River The Yangtze River Is My Home (Composed by a Chinese composer) The Tarim River (Composed by a Chinese composer) Song of the Yangtze River (Composed by a Chinese composer) Protect the Yellow River (Composed by a Chinese composer)
(PMPH, 2023a, pp. 14–19)	Unit 3: My Motherland Is Good The March of the Volunteers (Composed by a Chinese composer) The National Flag Is Very Beautiful (Composed by a Chinese composer) We Sing the Same Song (Composed by a Chinese composer)
(PMPH, 2023f, pp. 2–7)	Unit 1: Loving My Motherland Motherland, Motherland, We Love You (Composed by a Chinese composer) We Have Entered October’s Sunshine (Composed by a Chinese composer) We Are Not Afraid [Out Enemies] (Composed by a Chinese composer) Praise the Red Flag (Composed by a Chinese composer) The Lugou Ballad (Composed by a Chinese composer)
(PMPH, 2023g, pp. 2–7)	Unit 1: Sing for the Motherland The March of the Volunteers (Composed by a Chinese composer) Pick a Bunch of Flowers for Mum (Composed by a Chinese composer) Ode to Motherland (Composed by a Chinese composer)
(PMPH, 2023k, pp. 32–37)	Unit 5: A Heart of Praise Today Is Your Birthday (Composed by a Chinese composer) The Decedent of the Dragon (Composed by a Chinese composer) The Colorful Land (Composed by a Chinese composer)
(PMPH, 2023k, pp. 40–47)	Unit 6: Deep Affection between the Two Sides Half-Screen Mountain (Composed by a Chinese composer) The Girl from Alishan (Composed by a Chinese composer)

presents a collection of songs that express love and appreciation for the Chinese nation. The units across various textbooks emphasize themes of patriotism, cultural pride, and appreciation for the diverse ethnic groups within China. Each unit features songs that celebrate the homeland’s beauty, the richness of cultural heritage, and the unity of the Chinese people. Many of these songs, such as “I Love My Home Village, I Love My Motherland”, “My Motherland”, “I and My Motherland”, and “I Love My China”, emphasize patriotic themes and foster a strong emotional connection between the students themselves and their motherland. Notably, “The Anthem of the PRC” and “The National Flag Is Very Beautiful” symbolize national pride. These approved songs are featured in various textbooks and highlight the themes of national pride, unity, and the beauty of the homeland.

Moreover, songs like “Protect the Yellow River” emphasize resilience and strength while promoting unity without fostering animosity towards adversaries, including Japan (PEP, 2023l). This song honors the Red Army’s unwavering commitment to defend the nation, symbolizing its valor and determination to safeguard China’s vital heritage. The closing lyrics resonate with this sentiment: “Protect my homeland, protect the Yellow River, defend North China and the whole of China”. Through these songs, students are encouraged to appreciate the Red Army’s sacrifices and develop a connection to the CCP. By praising the Red Army, these selections instill pride and loyalty, aligning students’ identities with the Party and reinforcing national unity. In this way, the songs cultivate enduring love for the Communist Party and the nation among young learners.

Further illustrating this connection, the song “My Chinese Heart”, written in 1982, emerged during a time when the Japanese Ministry of Education, Culture, Sports, and Technology approved primary and secondary school textbooks that openly distorted the history of aggression against China. The lyrics express the longing of a wanderer abroad for their homeland, capturing a profound sense of excitement and pride while cherishing the memory of their “mother”. This connection to history is emphasized in the emotionally charged choral section, which highlights iconic symbols of Chinese heritage such as the Yangtze River, the Great Wall, Yellow Mountain, and the Yellow River. These powerful images resonate deeply with overseas travelers, underscoring the motherland’s significant role in their lives and identities.

The term “Mother” is frequently adopted in music textbooks as a symbol to praise the Chinese nation, evoking deep emotional connections that represent nurturing, unity, and the profound bond between individuals and their homeland. Many Chinese songs draw parallels between love for the nation and children’s affection for their mothers. The lyrics often emphasize the themes of nurturing, protection, and unity. For example, the song “We Sing the Same Song” includes the line, “Love for our China is like loving our mother” (PMPH, 2023a, p. 19). Similarly, the song “Pick a Bunch of Flowers for Our Mother” symbolizes gratitude for mothers’ hard work and devotion, reflecting a broader love for the nation (see Table 6, PMPH, 2023g). Gathering flowers represents children’s appreciation for their mothers’ nurturing roles, paralleling how the nation supports its citizens, as expressed in the following lyrics: “The vast wilderness is full of flowers; pick a bouquet and give it to mother… Mother, mother, dear mother, your hard sweat and tears of joy are spread worldwide”. This connection emphasizes that honoring one’s mother is intertwined with love for the homeland, reinforcing that both relationships are essential to personal identity and national pride.

Additionally, songs like “Half-Screen Mountain” and “The Girl from Alishan” beautifully illustrate the deep cultural and emotional ties between Taiwan Province and Mainland China (PMPH, 2023k, pp. 40–46). Similarly, the song “The Daughter from One Mother” expresses deep love and attachment to the homeland through heartfelt melodies, emphasizing that there are no differences between ethnic groups, as they all come from one mother—one China (PEP, 2023k). By invoking the image of “one mother”, the song emphasizes that all ethnic groups, including the Han people and others, are connected through a common origin. This metaphor reinforces the notion that, despite their varied cultures and traditions, every group shares a fundamental bond, fostering a sense of belonging and collective identity within the nation. Ultimately, “one mother” symbolizes the nurturing spirit of the homeland, uniting all people under the overarching identity of one China.

The relationship between the Chinese nation and its citizens resembles that of a parent and child, where the nation nurtures and protects its people. In contrast, citizens express love, loyalty, and respect in return. This sentiment is beautifully captured in the song “Today Is Your Birthday”, which features the following lyrics: “We are blessing your birthday, my China. This is the song that comes from our children’s hearts…. This is how your children, from afar, send their blessings and say…” (PMPH, 2023k, pp. 32–33).

Furthermore, the units of 56 flowers are repeatedly included in the PEP music series to symbolize the 56 official ethnic groups in China, celebrating the country’s rich cultural diversity and promoting national unity through the appreciation of each group’s unique contributions to the collective identity. Including folk songs from these diverse communities serves as a heartfelt expression of national unity and pride. These songs reflect the cultural richness of China’s ethnic groups, showcasing their unique traditions and contributions to the nation. This focus fosters a sense of belonging and appreciation for the country’s diverse heritage. For example, folk songs like “Qi Duo Lie” from the Hani ethnic group in Yunan, “Brave Oroqen People” from Oroqen, “Protect Little Lambs” from the Lisu ethnic group, and “Blowing the Qiang Flute and Dance at the Pottery Village” from the Qiang ethnic group illustrate the rich cultural tapestry of the nation (see Table 6).

5. Discussion

This study explores the integration of Confucian moral values into music education in Mainland China, specifically focusing on the role of school songs that encapsulate themes of love related to family, home, teachers, friends, the Chinese Communist Party (CPC), and the nation. The findings reveal a significant alignment between Confucian moral education and music education, highlighting a strategic initiative to instill values of love and unity through these musical expressions. By embedding these themes into the curriculum, the songs function as educational tools and cultural instruments that reinforce social harmony and collective identity among students. This connection emphasizes the importance of music as a medium for cultivating moral virtues, fostering a sense of belonging, and promoting the essential values needed for a cohesive society.

Historically, Confucian values were foundational to societal norms and educational practices in China, emphasizing moral cultivation, interpersonal relationships, and social harmony–principles deeply embedded in Chinese culture (Q. Y. Guo & Cui, 2012; Kirkendall, 2017; C. Y. Li, 2008; C. Y. Li & Düring, 2022). However, the establishment of the Republic of China in 1912 marked a significant shift, as Confucianism was increasingly seen as an obstacle to modernization, leading to education reforms that embraced Western principles. This trend intensified during the Cultural Revolution (1966–1976), when music education became heavily politicized, with the Communist Party prioritizing its ideology and sidelining Confucian values, which were regarded as remnants of an outdated feudal system.

In contrast, post-1978 China witnessed a revival of Confucian ethics in its education system. Following Deng Xiaoping’s economic reforms, there was a renewed appreciation for cultural heritage to foster national identity and social stability. The government began reintroducing Confucian values in education, including music, to address the moral void left by the Cultural Revolution (Billioud & Thoraval, 2015). This revival aimed to adapt Confucian teachings to contemporary realities, promoting social harmony and responsibility.

The current curriculum reflects a dual focus, integrating Confucian moral values with songs emphasizing love, respect, and harmony. This approach connects students to their cultural heritage and prepares them for the complexities of modern life. The evolution of Confucian moral education illustrates its resilience and adaptability in Mainland China’s changing political landscape, restoring cultural continuity and meeting contemporary moral and ethical needs.

Moreover, the “Morals and Law” curriculum standards demonstrate a commitment to embedding Confucian moral education within music education. Officially, songs significantly advance these values, emphasizing love, respect, and harmony, which align closely with Confucian teachings and help cultivate a strong sense of moral responsibility among students (Andrijauskas, 2016; H. Wang, 2024). As Kallio (2021, 2024) has noted, incorporating music education into the broader political framework has been a powerful tool for advancing political objectives. This is particularly evident in Mainland China’s approach to integrating Confucian moral values and officially approved content into the school music curriculum.

The analysis revealed that love-infused lyrics celebrate the bonds between students, their families, and their nation (see Table 1 and Table 3), promoting values inherent in Confucianism while supporting the government’s agenda of reinforcing national identity and cultural heritage. Songs play a crucial role in fostering individual and collective moral development within the educational framework. By incorporating love-themed lyrics, these songs strengthen familial bonds–particularly the profound love for mothers–while simultaneously cultivating a sense of unity with the nation and the Communist Party.

To further illustrate this point, comparisons can be drawn with other regions where songs have been employed to influence nationalism within the school curriculum. For instance, in Zimbabwe during the 1970s and 80s, political songs were used by ZANU nationalists to engage students and instill a sense of shared identity, integrating these themes into educational materials to promote awareness of national history and cultural pride (Hodgkinson, 2019). Similarly, Cecil Sharp’s collection and promotion of England’s folk songs significantly contributed to instilling a sense of patriotism among students, as these songs celebrated the nation’s cultural heritage and nurtured a collective identity grounded in English traditions (Cox, 1990; Knevett, 2018).

The emphasis on love in the curriculum reflects Confucian ideals that recognize love as a fundamental moral virtue. This concept resonates deeply in today’s educational practices, illustrating how love extends beyond personal relationships to encompass loyalty and devotion to the state. The lyrical content of these songs often highlights the themes of familial affection and national pride, promoting an idealized image of the Chinese family as harmonious and supportive. As mentioned earlier, the portrayals of President Xi and Peng Liyuan not only serve to humanize political figures but also reinforces the notion that strong, loving relationships within families contribute to a stable society (T. Guo, 2020). By celebrating such relationships through music, the curriculum seeks to instill the values of respect, responsibility, and collective unity among students.

Furthermore, a mother’s love is often seen as the epitome of selflessness and nurturing, serving as a foundational model for understanding broader expressions of love and care within society. This familial love parallels love for the nation and extends to the diverse tapestry of China’s 56 ethnic groups. The virtues learned within the family unit—such as compassion, loyalty, and responsibility—are mirrored in the expectations placed on citizens to honor and serve their country. This connection is vital in shaping students’ identities, as they understand that filial piety and respect for one’s parents are intrinsically linked to a sense of duty towards the nation. By recognizing the shared heritage and contributions of various ethnic groups, students can foster a deeper appreciation for national unity and cultural diversity. This sense of belonging to a larger community reinforces the idea that love is not confined to familial ties but is a fundamental value that promotes social harmony across different cultural backgrounds. Such an understanding cultivates a collective identity that celebrates both individual and national pride, ultimately contributing to a cohesive society where mutual respect and understanding prevail.

In contrast to the expressions of love directed toward family, hometowns, teachers, and friends, the theme of love for the CPC and the nation is more prominently valued and emphasized in the official songs (see Table 1, Table 2, Table 3, Table 4, Table 5 and Table 6). National love may take precedence over themes celebrating the CCP or the Red Army, with anthems frequently portraying the country as a nurturing mother figure. This powerful metaphor intertwines personal and national identities, fostering a collective identity that transcends political affiliations. While some songs honor maternal love and national pride, the nation itself is often regarded as the universal mother figure for all children in China, reinforcing a sense of unity and pride among younger generations.

Ultimately, songs in music textbooks aim to cultivate a deep love for family and country while fostering a global perspective. This objective aligns with the broader goal of promoting greater understanding between China and the world. This study asserts that the integration of love as a core value in the curriculum is a significant theme within music education materials, primarily expressed through singing. Efforts should be directed toward aligning China’s music education principles with a comprehensive understanding of love and virtues deeply rooted in traditional educational culture (Ministry of Education [MoE], 2022a, 2022b).

As President Xi Jinping emphasizes, families’ futures are intricately linked to the nation’s future, encouraging households to harmonize their love for family with their love for their country (Xinhua News, 2025). This dual emphasis not only fosters national loyalty but also cultivates globally aware and competent citizens. President Xi Jinping’s promotion of love as a political construct is central to his rhetoric and public persona, reflecting a strategic approach to governance and national identity. This aligns with the reviewer’s discussion on the ideological implications of love in political discourse. As mentioned earlier in this paper, the viral music video “Xi Dada Loves Peng Mama” emphasizes familial love, portraying Xi and his wife, Peng Liyuan, as relatable figures who embody the warmth of Chinese culture. This personal branding fosters closeness between the leadership and the populace, reinforcing Xi’s image as a compassionate leader. Additionally, a song by Li Siyu expressing gratitude for Xi’s visits to impoverished villages underscores his commitment to social welfare, framing his leadership as rooted in love and care for the people, primarily through repeated affirmations like “I love you” (USCNPM Archive, 2016). His use of the Hainanese folk song “Long Time No See” during international engagements further enhances his diplomatic approach, invoking themes of longing and connection that resonate locally and globally (CGTN, 2018).

In this context, love serves as a powerful political construct in President Xi’s rhetoric, strengthening national cohesion and reinforcing the ideological foundation of his governance. This aligns with the Confucian emphasis on collectivism present in the Chinese school curriculum, which seeks to develop individuals who contribute to societal harmony while also aligning with China’s modernization goals in a globalized context (C. L. Wang, 2023; L. P. Wang, 2021, 2023).

Given this framework, it is crucial to assess how the integration of these values within the music curriculum reflects a human rights perspective while potentially upholding the status quo of Chinese authorities through officially selected songs. The curriculum must balance reinforcing political ideologies and embedding traditional Chinese values that promote mutual understanding and social harmony. While the fundamental form of human rights is important, the focus of this discussion remains on the implications of these values within the context of music education, ensuring that the promotion of traditional values does not overshadow critical considerations of individual rights.

A critical evaluation of the values promoted through music education in Mainland China is essential to determine whether they foster empathy, respect, and tolerance or reinforce divisions and political allegiance. This examination is vital for understanding music education’s role in shaping individual character and collective societal values. Given these considerations, a comprehensive approach to music education in this context could emphasize harmonizing love virtues, encouraging students to engage thoughtfully with these themes. By nurturing a generation that values personal integrity and social responsibility, we can aspire to cultivate individuals in Mainland China who contribute positively to both the local and global communities.

6. Conclusions and Limitations

Building on the insights from the discussion, incorporating Confucian moral values and officially approved love-infused lyrics into school music education in Mainland China highlights significant implications that extend beyond its borders and are relevant to both Western and non-Western contexts. Engaging with culturally relevant content fosters respect, kindness, and responsibility among students, with music as a powerful medium for conveying these ethical principles (Hallam, 2010b; Lu & Gao, 2004; Ministry of Education [MoE], 2022a, 2022b).

In Mainland China, the top–down approach emphasizes the importance of collaborative music activities, such as singing officially sanctioned songs. These practices help students develop a sense of community and national identity while promoting social cohesion and unity (Ministry of Education [MoE], 2022a, 2022b). However, while the inclusion of Confucian values and love-infused lyrics offers notable benefits, concerns about limited exposure to diverse perspectives are universal. Critics have argued that focusing on officially sanctioned songs restricts freedom of expression and critical thinking. This concern is relevant in both Western and non-Western countries, where nationalistic themes in music education can sometimes overshadow broader cultural narratives.

In summary, the integration of Confucian moral values and officially approved love-infused lyrics into school music education in Mainland China represents a strategic initiative grounded in the importance of social development, the transformative power of music, and the cultural significance of Confucianism. This approach aims to cultivate collective goodness, social harmony, and respect for family, school, and the nation among students. By incorporating songs with moral and love themes, Chinese music education instills values such as responsibility, respect, unity, and love in its students.

Furthermore, this research underscores the significance of love as a virtue within music education, illustrating how the government utilizes this medium to promote traditional values and reinforce national identity. By embedding themes of love into the curriculum, music education serves as a means of personal development and a vehicle for fostering a collective sense of belonging and unity. Future research should investigate the relationship between music education, love virtues, and moral development across various cultural contexts. By examining the impact of love-infused music on students’ moral and social growth, we can enrich discussions on education’s role in nurturing ethical individuals and cultivating harmonious communities. This understanding will ultimately guide educational policies and practices in Mainland China and beyond, emphasizing the importance of love as a foundational virtue in personal and societal development.

However, this study is not without its limitations. The focus on officially approved songs may not capture the full spectrum of musical experiences available to students, potentially overlooking the influence of informal music practices and diverse musical genres that contribute to students’ moral and social development. Additionally, examining love as a virtue could benefit from a broader exploration of how different cultural contexts interpret and express this concept within music education. Notably, this study does not address the aspects of patriotic and nationalistic love for the nation or the Chinese Communist Party as part of love virtues. This paper does not assess how this educational approach allows for individual agency, creativity, or dissent within the framework of music education in Mainland China.

Future research should investigate the relationship between music education, love virtues, and moral development across various cultural, national, and global contexts. Suggested research methods include qualitative interviews with educators and students to gain insights into their experiences and perceptions of music education and quantitative surveys to assess the impact of love-infused music on students’ moral and social growth. Key questions for further exploration could include the following: Is there evidence of resistance or alternative interpretations of these songs among students or educators? How do different ethnic groups in China perceive this musical framework—does it reflect multicultural harmony or reinforce Han-centric nationalism?

Moreover, conducting comparative studies across different cultural settings could deepen our understanding of how love is expressed and taught within music education. For instance, examining music education in South Korea, which shares Confucian values, may reveal how concepts of love and respect for family and community are integrated into their curriculum, often emphasizing collective harmony. Similarly, investigating the music education system in Singapore, known for its multicultural approach, could shed light on how diverse cultural influences shape the teaching of love and moral virtues within a context that values inclusivity. Additionally, considering Japan—where historical ties to Confucianism coexist with a unique approach to music education—future research could explore how love and respect are incorporated into their curriculum. In contrast, liberal Western approaches to music education may prioritize individualism, critical thinking, and freedom of expression, often allowing for a broader interpretation of love that encompasses personal agency and diverse cultural narratives. Such comparative analyses could uncover significant differences in how love as a virtue is articulated and taught, highlighting the tension between collectivist and individualist educational values.

By exploring these dimensions, we can deepen discussions on education’s role in nurturing ethical individuals and cultivating harmonious communities. This understanding will ultimately guide educational policies and practices in Mainland China and beyond, emphasizing the importance of love as a foundational virtue in both personal and societal development.