I. Theoretical Foundations: Tracing the «Spiritual Lineage» of Chinese and Western Music Therapy

(A) The Intellectual Origins of Chinese Music Therapy

The intellectual origins of Chinese music therapy are profound and rich, deeply rooted in the unique cosmology and life philosophy of Huaxia civilization, forming a «music healing» paradigm distinctly different from other medical systems worldwide. The core of this paradigm is not viewing music as an external stimulus independent of the body and mind, but rather understanding it as a subtle energy that communicates between heaven and earth and harmonizes the body and mind, a crucial medium for maintaining individual health and cosmic harmony.

The genesis of this thought can be traced back to the pre-Qin concept of «the unity of heaven and humanity». The Confucian classic “Yue Ji” states: «Music is the harmony of heaven and earth». This clearly indicates that music was essentially recognized as a manifestation of the harmonious order of the cosmic natural world. Confucianism further emphasized the complementary roles of «music»and «ritual», believing that «music» had a social governance function for educating the human heart and guiding people towards goodness, as in the saying «applying music to govern the heart, then a heart of ease, straightforwardness, kindness, and sincerity spontaneously arises». Through upright, balanced, and peaceful «virtuous sounds and elegant music», one could cultivate temperament, guiding the human heart towards goodness, thereby achieving both individual and societal health.

Simultaneously, Daoist thought provided another profound philosophical foundation for music therapy. Laozi proposed «the great sound is faint», and Zhuangzi advocated for the «sounds of nature». The core idea is to transcend the formal techniques of music, pursuing a state of harmony that aligns with the Dao, natural and spontaneous. Applied to healing, this wisdom is embodied as «governing through non-action»—not using forceful music to «correct» anything, but rather using musical sounds that conform to the natural rhythms of life to guide the body and mind back to their inherent balance and tranquility, achieving the state of «nourishing both body and spirit».

This theoretical and practical framework for Chinese music therapy achieved systematic medical construction in the foundational TCM text, the *Huang Di Nei Jing* (Yellow Emperor's Inner Canon), establishing the core system of «Five-Tone Therapy». This system intricately links the «five tones» (Gong, Shang, Jue, Zhi, Yu) with the human «five zang-organs» (spleen, lung, liver, heart, kidney), and the «five mindsets/emotions» (contemplation, grief, anger, joy, fear) through the framework of the «Five Phases» (Wood, Fire, Earth, Metal, Water). Music thus becomes a refined «medicine». Its therapeutic logic lies in utilizing the specific generating, restraining, over-acting, and insulting relationships among the five tones and the five zang-organs to balance the ascending, descending, entering, and exiting of Qi within the body, suppressing what is hyperactive and supplementing what is deficient, thereby regulating imbalanced emotions and physiological functions—for example, the «Jue» tone soothes the liver and relieves stagnation, while the «Zhi» tone supports and nourishes heart Qi.

(B) The Philosophical and Scientific Tradition of Western Music Therapy

The tradition of Western music therapy is rooted in the philosophical soil of «mind-body dualism» and evolved along a path from philosophical speculation to scientific empiricism, ultimately constructing a modern disciplinary system integrating rational analysis, psychological insight, and neuroscientific evidence. Its intellectual origins trace back to ancient Greece. The Pythagorean school proposed the grand concept of «the music of the spheres», believing the operation of the cosmos itself was a harmonious mathematical order, and earthly music was a microcosmic reflection of this order. They pioneered the practice of «musical medicine», believing specific melodies and rhythms could «purify» the human soul and correct imbalanced emotions. Plato and Aristotle further theorized the social and ethical functions of music; the former emphasized music's role in shaping the character of citizens in an ideal republic, while the latter, in Politics, detailed the differential effects of different modes (e.g., Dorian, Phrygian) on the listener's character and emotions, laying the foundation for the «Doctrine of Affections» in musical aesthetics.

However, unlike the holistic view of «the unity of heaven and humanity» in TCM, Western thought, particularly after Descartes, established a stark dichotomy between mind and matter with the proposition «I think, therefore I am». This, on one hand, viewed the body as a precise machine, paving the way for later physiological analyses of music's effects on the body; on the other hand, it led music therapy to focus for a long time on influencing and regulating the «mind» or «spirit» through music. This philosophical tradition foreshadowed the two main orientations of modern music therapy: one based on psychodynamics, using music as a non-verbal medium to explore the unconscious and express inner emotions; and the other based on behaviorism, using music as a reinforcer to shape and correct behavior.

(C) Lineage Comparison: A Dialogue between Unity of Heaven and Humanity and Mind-Body Dualism

1. Lineage Comparison: A Dialogue between Unity of Heaven and Humanity and Mind-Body Dualism

The spiritual lineages of Chinese and Western music therapy present a core divergence in their philosophical foundations—«the unity of heaven and humanity» versus «mind-body dualism». This fundamental difference in cosmology and concept of the body has shaped their unique characteristics in therapeutic logic, practical pathways, and value orientations, engaging in a profound dialogue spanning millennia.

2. The Philosophical Divide: «Unity of Heaven and Humanity» vs. «Mind-Body Dualism»

The Chinese idea of «the unity of heaven and humanity» views the cosmos, society, and the human body as an organically connected, isomorphic, and mutually sensing living community. From this perspective, music is essentially the resonance and embodiment of cosmic natural rhythms. The human body, as an open microcosm permeated by «Qi», resonates with the macrocosm of heaven and earth through the correspondence of the «five tones» and «five zang-organs». Therefore, the core of music therapy lies in «harmonizing». In contrast, «mind-body dualism», originating in ancient Greece and strengthened by Cartesian philosophy, views spirit and matter, mind and body as separable, distinct substances. While this tradition does not deny their interaction, it provided the philosophical premise for the subsequent scientific study of the body as an object and a machine. Music is thus parsed as a special «stimulus» or «tool» capable of acting upon the two dimensions of «mind and body», its therapeutic logic leaning more towards «intervention» and «regulation», applying influence to specific psychological or physiological issues.

3. Therapeutic Logic: Complementary Relationship-Based Harmonizing vs. Structure-Based Intervention

Differences in philosophical foundations directly lead to distinct therapeutic practices. Within the framework of «the unity of heaven and humanity», traditional Chinese music therapy is relational and contextual. It emphasizes «harmony between music and person» and «harmony between music and heaven and earth». Whether a piece of music has therapeutic value depends not entirely on its own physical properties but more on whether it matches the listener's constitution, emotions, and even the spatiotemporal context. For example, according to the «Five Phase generation and restraint» theory, the wood-associated «Jue» tone is suitable in spring for soothing the liver; its value lies in the harmonizing role it plays within the entire network of life and natural relationships. Conversely, the «mind-body dualism» tradition gave rise to the structural and analytical approach of Western music therapy. Music is decomposed into elements like rhythm, melody, and harmony to precisely study how they separately affect mood, alter brainwaves, or regulate heart rate. Whether used for emotional catharsis in improvisation or for relaxation in guided music imagery, its design is based on targeted intervention on psychological or physiological structures.

4. Fusion of Value Orientations: From Rivalry to Dialectical Unity

This profound philosophical dialogue reveals that the two traditions are not simply opposed in their value orientations but contain great potential for complementarity. The «unity of heaven and humanity» view provides a broad systemic perspective and the preventive wisdom of «treating disease before it arises», viewing health as a dynamic process of life artistry. The «mind-body dualism» tradition contributes fine analytical tools and empirical methods, ensuring intervention operability and verifiable efficacy. In the cross-cultural practice of contemporary music therapy, the dialogue between the two is moving from rivalry towards dialectical unity. We need both the precise mechanisms revealed by Western science of how «sound» affects the «body», and the holistic wisdom of Eastern philosophy regarding how «sound», «heart/mind», and «heaven» resonate. Ultimately, the purpose of this dialogue between «unity of heaven and humanity» and «mind-body dualism» is not to determine superiority but to jointly point towards a more complete understanding of the «human being»—as both an analyzable biological entity and a spiritual existence connected to all things. Music therapy is precisely an ancient yet new bridge connecting these two aspects.

II. The Body as Medium: The «Dialogue» Field of Chinese and Western Music Therapy

(A) The TCM View of the Body: Qi, Yin-Yang, Five Phases, Meridians, and Zang-Fu

The TCM view of the body is by no means a static, material entity in the modern anatomical sense, but rather a life process full of dynamic energy, internal correlations, and resonance with the vast cosmic scheme. The core of this unique perspective is constructed upon a series of interrelated philosophical and medical concepts—«Qi», «Yin-Yang», «Five Phases», and «Meridians and Zang-Fu»—collectively depicting a profound picture of the «flowing body» and the «relational body».

First, «Qi» is the most fundamental energy and motive force constituting all life activities. In TCM, the human body is an open system formed by the constant ascending, descending, entering, and exiting, the ceaseless circulation, of Qi. This life force condenses to form shape and disperses to flow. It not only nourishes the entire body but also maintains the exchange of information and energy within the body and between the body and the external environment. Therefore, the essence of health lies in the abundance and smooth flow of Qi, as emphasized in the Huang Di Nei Jing: «When upright Qi is stored within, pathogenic factors cannot interfere». The root of disease lies in imbalances of Qi such as deficiency, stagnation, rebellion, or disorder.

Second, the doctrines of «Yin-Yang» and the «Five Phases» provide the core laws and models for understanding the complex dynamic relationships within the body. «Yin-Yang» is a pair of relational categories, dividing all structures and functions of the body into two opposing yet unified aspects—e.g., the exterior is Yang, the interior is Yin; function is Yang, substance is Yin. Health signifies the dynamic balance of Yin and Yang, known as «Yin level and Yang secret». Disease is the disruption of this balance, manifesting as «Yin-Yang disharmony». The «Five Phases» (Wood, Fire, Earth, Metal, Water) further incorporate the body's Zang-Fu organs (liver, heart, spleen, lung, kidney), emotions (anger, joy, contemplation/pensiveness, grief, fear), sounds (shout, laugh, sing, cry, groan), and even natural phenomena like seasons, directions, and musical tones (Jue, Zhi, Gong, Shang, Yu) into a vast system of analogy and linkage. The Zang-Fu organs follow the rules of «mutual generation and restraint» to promote and check each other, thereby maintaining the stability and coordination of the giant system of life.

Finally, this entire theoretical system is concretely implemented and manifested through the physiological-energy system of «Meridians and Zang-Fu». Meridians are the pathways through which «Qi» flows, the energy network connecting interior and exterior, communicating the surface and the core. The Zang-Fu organs are not merely anatomical entities but functional systems centered on their physiological functions, closely linked to specific meridians, emotions, and sense organs. For example, the liver belongs to Wood, governs free coursing, corresponds to the emotion of anger, and its associated sound is shouting; its meridian courses through the hypochondriac region. When a person is chronically angry, it can damage liver Qi, leading to Liver Wood imbalance; this imbalanced «Qi» may manifest as distending pain along the liver meridian pathway and through abnormalities in sound and emotion.

(B) The Western View of the Body: Nervous System, Endocrine System, and Psychophysiology

The Western modern medical view of the body, based on anatomical and physiological empirical research, understands the human body as a precise and complex biophysical system. From this perspective, the nervous and endocrine systems constitute the core mechanisms of mind-body interaction and internal communication, and psychophysiology serves as the bridge connecting mental activity and bodily responses. The nervous system, particularly the autonomic nervous system, acts as the body's automatic control system, responsible for unconsciously regulating basic life functions like heart rate, respiration, and digestion. Its sympathetic branch mobilizes energy to cope with stress («fight or flight»), while the parasympathetic branch conserves energy and promotes relaxation («rest and digest»). Operating in parallel, the endocrine system plays the role of chemical messenger, broadly and slowly regulating metabolism, emotional state, and growth and development by releasing hormones (e.g., cortisol, adrenaline) into the bloodstream. These two systems work closely together to maintain internal homeostasis. Psychophysiological research further reveals that external psychological stimuli (such as the emotional experience evoked by listening to music) can be perceived and processed by the cerebral cortex and limbic system, which then issue commands via the hypothalamus—the high-level command center—to both the autonomic nervous system and the endocrine system, ultimately triggering a series of measurable physiological changes like heart rate variability, blood pressure, electromyography (EMG), electrodermal activity (EDA), and hormone levels. Therefore, in the paradigm of the Western body view, music's intervention on the body is essentially seen as an input of acoustic signals that, via the auditory pathway, are ultimately transformed into neural electrical signals and biochemical signals, exerting targeted regulation and influence on this precise physiological system.

(C) Similarities and Differences in Somatic Dialogue: Holistic Resonance vs. Targeted Regulation

When engaging in «dialogue» with the body, Chinese and Western music therapy, due to their divergent philosophical foundations and body views, have formed two distinct pathways: «holistic resonance» and «targeted regulation». Although both ultimately aim for health, their modes, logic, and depth of engaging with the body present an enlightening contrast.

1. Fundamental Commonality: Direct Intervention Beyond Language

First, it must be acknowledged that both highly concur on one fundamental point: they recognize that music can bypass the brain's cognitive critique and directly «dialogue» with the body. Whether termed «resonant communication» in the East or «subconscious» influence in the West, music, as a non-linguistic, energy-rich vibrational form, possesses the power to directly reach and influence a person's physiological state and emotional core. This is the unique advantage of music therapy distinguishing it from many verbal therapies and the common ground enabling dialogue between the two traditions.

2. Divergent Paths: Relational Harmonizing vs. Mechanistic Intervention

However, in the specific manner of dialogue, they part ways. The «holistic resonance» path, dominant in TCM, is essentially relational and contextual. It does not insist on specific physiological parameters changing in a predetermined way but focuses on restoring the balance and harmony of «Qi» for the individual as a living whole. Here, music acts like a tuner; its value lies in the «resonant relationship» it forms with the listener's specific constitution, emotional state (e.g., liver constraint, heart fire), and even spatiotemporal context (e.g., season, time of day). A Wood-associated «Jue» tone does not work by directly «killing» anxiety but by coursing and discharging Liver Wood Qi, re-establishing flow and order within the entire body's energy network, thereby achieving holistic harmonizing of body and mind. The process is dynamic and highly individualized.

Conversely, the mainstream «targeted regulation» path of the West is structural and analytical. It views the body as a precise instrument, and music is parsed into a set of measurable physical parameters (rhythm, frequency, volume) used to specifically «regulate» the function of a particular «component» in the instrument. For instance, using soothing music around 60 beats per minute aims to slow the heart rate and respiration through «frequency following response», thereby precisely regulating the autonomic nervous system, activating the parasympathetic branch, and achieving physiological relaxation. This intervention is based on universal psychophysiological mechanisms, pursuing clear, replicable cause-and-effect outcomes.

3. Complementary Values: Fusion of Systemic Wisdom and Precise Tools

«Holistic resonance» and «targeted regulation» are not simply opposites but form a profound complementarity in value. «Holistic resonance» provides a broad systemic perspective and the wisdom of «preventing disease before it arises». It focuses on the «potential» and «state» of health, excelling in maintaining the overall vitality and dynamic balance of the life system. «Targeted regulation» contributes fine analytical tools and empirical methods, adept at solving specific, manifested «problems», and ensures the operability and objective efficacy of interventions. Ideal modern music therapy practice requires the integration of these two wisdoms: employing the precision of «targeted regulation» to address acute anxiety or pain, while also utilizing the systemic view of «holistic resonance» to nurture long-term physical and mental harmony and quality of life, thereby achieving comprehensive care for the «person».

III. How «Sound» Becomes «Medicine»: A Cross-Cultural Interpretation of Therapeutic Mechanisms

(A) The Chinese Path: Common Origin of Music and Medicine—Harmonizing the Five Tones, Five Zang-Organs, and Emotions

Within the intellectual treasure trove of traditional Chinese medicine and philosophy, music therapy is not an isolated technique but a complete system of physical and mental harmonization rooted in the core concept of the «common origin of music and medicine». This path holds that music, like medicine, originates from nature, possesses specific properties and energetic attributes, and can guide the body's internal Qi, blood, and emotions back to a harmonious state. Its theoretical system matured in texts like the *Huang Di Nei Jing*, constructing an exquisite therapeutic model based on the fundamental elements of the «Five Tones» (Jue, Zhi, Gong, Shang, Yu), «Five Zang-Organs» (liver, heart, spleen, lung, kidney), and «Five Mindsets/Emotions» (anger, joy, contemplation, grief, fear), interconnected and analogically linked through the «Five Phase» (Wood, Fire, Earth, Metal, Water) framework.

The therapeutic logic of this path first manifests as a «like resonates with like» holistic resonance. According to the holistic view of «correspondence between heaven and humanity», the human body is seen as a miniature universe, whose Zang-Fu organs, emotions, and natural musical tones share profound isomorphic relationships. Specifically, the «Jue» tone belongs to Wood, its sound expansive, able to resonate with the Wood-associated liver, its «free coursing» function, and the emotion of «anger». The «Zhi» tone belongs to Fire, its sound joyful, corresponding to the Fire-associated heart, its «housing the spirit» function, and the emotion of «joy». This extends similarly: «Gong» tone connects to the spleen and «contemplation», «Shang» tone links to the lung and «grief», «Yu» tone enters the kidney and «fear». When the function of a specific Zang-Fu organ is disordered or its corresponding emotion becomes excessive, it signifies an imbalance—either «excess» or «deficiency»—in that energy system.

Furthermore, the core mechanism of its therapeutic practice lies in dynamically applying sequences of the five tones for «tonification» and «sedation». This is not simply «treating the head for a headache», but involves systematic regulation strictly following the laws of Five Phase generation, restraint, over-action, and counter-restraint. For example, for an individual displaying irritability and hypochondriac distension due to liver Qi constraint, treatment might not only select the Wood-associated «Jue» tone for coursing and discharging but could also flexibly apply the principles of «Water generates Wood» or «Metal restrains Wood». If it is a «deficiency pattern», one might supplement with the Water-associated «Yu» tone to «enrich Water to nourish Wood». If it is an «excess pattern», one might choose the Metal-associated «Shang» tone to «assist Metal in pacifying Wood», suppressing the excessive hyperactivity of liver Qi. Similarly, for someone with excessive contemplation/pensiveness injuring the spleen, the Wood-associated «Jue» tone can be used for «Wood restraining Earth» to resolve Earth's stagnation.

Thus, the «common origin of music and medicine» path in Chinese music therapy is essentially a highly contextualized and relational art. It does not seek universal musical prescriptions but emphasizes using the energetic properties of musical tones to precisely play the role of «harmonizer» within the complex energy-emotion network of the human body. Its fundamental goal is not to directly eliminate a symptom but to restore the smooth flow of Qi dynamics (ascending, descending, entering, exiting) and the dynamic balance of Five Phase relationships through the resonance of the five tones with the Zang-Fu organs and emotions, ultimately achieving holistic health from body to spirit. This is the profound wisdom distinguishing it from the Western targeted intervention path.

(B) The Western Path: Sound Waves and Psyche—Tripartite Intervention on Physical, Physiological, and Psychological Levels

In contrast to the Chinese path emphasizing holistic harmonization, the development of modern Western music therapy, closely tied to empirical science, has formed a tripartite intervention path based on «sound waves and psyche», which is analyzable, measurable, and systematically investigates how music, deconstructed as physical sound waves, acts upon the human body through physical, physiological, and psychological levels, progressively and interweavingly, to achieve therapeutic goals.

At the Physical and Physiological Level, music is first regarded as sound wave vibration with specific frequency, amplitude, rhythm, and harmony. These physical properties are converted into neural electrical signals via the auditory organ, directly acting on the brainstem reticular formation and cerebral cortex, triggering a series of automatic, subconscious physiological responses. A core mechanism here is the **Frequency Following Response, meaning the body's rhythmic physiological activities (e.g., brainwaves, heart rate, respiratory rhythm) tend to synchronize with external stable rhythms. Therefore, a piece of steady, soothing music around 60 beats per minute can effectively guide the listener's heart rate and breathing to slow down, thereby inhibiting sympathetic nervous system excitation and activating the relaxation-oriented parasympathetic nervous system, achieving physiological sedation. Simultaneously, music sound waves can regulate the endocrine system, e.g., lowering the level of the stress hormone cortisol and promoting the secretion of endorphins, improving emotional state at the neurochemical level.

At the Psychological Level, the intervention of music is deeper and more personalized. Transcending the direct effects of physical sound waves, music, as highly structured auditory information, can profoundly influence an individual's inner world through psychological processes like emotional arousal, association, and cognitive appraisal. A stirring march may inspire fighting spirit and energy, while a soft lullaby may evoke feelings of security and tranquility. This emotional arousal is closely linked to the individual's personal experiences and cultural background, making music a powerful medium for triggering and expressing inner emotions. In therapeutic application, therapists utilize this characteristic through techniques like song discussion, musical improvisation, or guided music imagery to help clients access, identify, and express unacknowledged or repressed emotions, and to restructure negative cognitive patterns, thereby promoting psychological integration and growth.

(C) The Possibility of Mechanism Integration: An Integrative Perspective from «Treating Disease» to «Preventing Disease»

The marked differences in mechanisms between the Chinese and Western music therapy paths do not form an insurmountable gap but instead provide valuable complementary space for constructing a more comprehensive and powerful integrative healing paradigm. The core value of this integration lies in its ability to combine the precision «intervention» strengths of the West with the systemic «harmonizing» wisdom of the East, thereby covering the entire health spectrum from «treating manifested disease» to «preventing disease».

In the clinical stage of «Treating Manifested Disease», the precision and measurability of the Western path take precedence. For diagnosed psychological disorders like anxiety, depression, or PTSD, and for managing acute pain, Western music therapy provides standardized intervention protocols validated by empirical evidence. For example, using music with specific frequencies and rhythms for physiological relaxation, or targeted musical activities to improve cognitive function and social interaction. Here, music acts as a non-pharmacological «acoustic medicine», with clear mechanisms of action and easily assessable efficacy, capable of rapidly and effectively alleviating specific clinical symptoms.

However, a higher realm of health lies in «Preventing Disease Before It Arises», i.e., maintaining the balanced state of body and mind to prevent the occurrence and development of disease. This is precisely where the excellence of the Chinese «common origin of music and medicine» path lies. It transcends the linear thinking of «symptom-target», focusing on the individual's overall energy state and emotional balance. For sub-healthy populations under long-term stress, or individuals identified with certain biased constitutions (e.g., Qi stagnation constitution, Yin deficiency constitution) according to TCM pattern diagnosis, the Western path might struggle to provide a «prescription», whereas the Chinese path can offer personalized music regulation plans based on the «Five Tones — Five Zang-Organs — Five Phases» theory. The goal is not to treat a specific «disease» but to, through daily exposure to musical tones, discharge excessive emotions, supplement deficient upright Qi, and restore the smooth and harmonious flow of Qi in the body, thereby enhancing overall disease resistance and vitality.

Therefore, an ideal integrative perspective should be dynamic and stage-specific. It can utilize the precision of Western methods to quickly stabilize symptoms in the initial intervention phase, then shift towards the holistic nature of the Chinese method during recovery and health maintenance to consolidate effects, regulate the root, and prevent relapse. For instance, for a patient with anxiety disorder, during the acute phase, Western relaxation music with sedative efficacy can be used to reduce physiological arousal levels; during the recovery phase, based on their liver constraint constitution, the Wood-associated «Jue» tone can be supplemented for long-term, aiming to improve their tendency towards anxiety at the root.

This integration from «treating manifested disease» to «preventing disease» signifies the sublimation of music therapy from an auxiliary «technique» to a complete «art of health». It no longer merely content with combating illness but is dedicated to nourishing life, ultimately realizing the «shared spirits» of Chinese and Western wisdom in the ultimate goal of safeguarding human physical and mental health.

Conclusion

This study, through systematic outlining and comparison, clearly reveals that Chinese and Western music therapy traditions are rooted in distinctly different «spiritual lineages». The Chinese path, upholding the cosmology of «the unity of heaven and humanity», views music as an energetic medium for harmonizing the human microcosm with the natural macrocosm. Its core idea of the «common origin of music and medicine» lies in the systematic relational harmonization of the «five zang-organs» and «emotions» through the «five tones», aiming to restore the dynamic balance of Qi flow and the Five Phases' generating and restraining cycles. The Western path, originating from the philosophical foundation of «mind-body dualism» and tempered by scientific empiricism, parses music into measurable physical sound waves and psychological stimuli, developing a «targeted regulation» model for the nervous, endocrine, and cognitive systems. The two exhibit fundamental differences in philosophical foundation, health concepts, and intervention logic.

However, despite their divergent spiritual lineages, this study also demonstrates a profound commonality between them at the level of «somatic dialogue». Both transcend the limitations of language, acknowledging music's ability to directly act upon the human physiological and emotional centers, triggering physiological resonance and emotional responses. Whether it is the «harmonization of Qi and blood» in the East or «physiological feedback» in the West, their interface of action ultimately converges on the living, feeling «body». It is this «common core» at the ultimate field of action that provides a solid theoretical foundation and infinite possibilities for transcending cultural barriers and constructing a future music therapy paradigm that is both respectful of cultural roots and integrated with scientific evidence, more inclusive and effective.

The future development of music therapy must move towards breaking down cultural barriers and establishing eclectic, individualized new treatment models. This means we should not view the Chinese and Western paths as an either-or choice but as precision instruments with different functions complementing each other within a complete toolbox. The ideal therapeutic paradigm would involve a therapist deeply versed in both traditions, capable of transcending the limitations of a single cultural tradition to design precise «formulations» when facing a unique individual: it could employ targeted techniques supported by Western empirical research to quickly alleviate a client's acute anxiety or pain; it could also, based on the Eastern holistic view, determine the imbalance in their constitution and emotions, and apply corresponding musical tones for long-term, gentle systemic regulation. This integration is by no means a simple stacking of techniques but is based on a deep understanding of the «Sonic Remedies, Shared Spirits» concept—recognizing that all effective music therapy, regardless of its theoretical guise, ultimately functions through the common channel of somatic resonance. Therefore, the future direction is to build a dynamic, personalized healing system capable of both «treating manifested disease» with scientific precision and «preventing disease» with philosophical wisdom, ultimately achieving deep harmony of body and mind and the full flourishing of life in each unique individual.

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