home

Cross-Cultural Resonance: Practice-Based Artistic Research on Guzheng–Harp Collaboration and Listener Experience

Authors

  • LEI ZHOU

    Akademia Muzyczna im. Krzysztofa Pendereckiego w Krakowie
    Author

Keywords:

music therapy; practice-based research; guzheng; harp; cross-cultural music; music and wellbeing

Abstract

Music therapy has developed into an interdisciplinary field linking musicology, psychology, and health research. While many studies have examined the emotional and cognitive effects of music listening, relatively little attention has been given to the acoustic interaction of specific instruments in cross-cultural performance contexts. This study investigates the interaction between the Chinese guzheng and the Western concert harp through a practice-based artistic research approach. Between 2023 and 2025, the research team composed five works for guzheng and harp (Morning Light, Cherry Blossoms, Cloud Dance, Raindrops, and The Field), exploring timbral resonance, pentatonic melodic structures, and evolving harmonic textures. These works incorporated harp techniques such as bisbigliando, près de la table, whistle effects, and pincé articulation alongside expressive guzheng techniques including vibrato, pitch bending, and glissando. Performances in China and Poland in 2025 generated observational data through performer reflection and audience feedback. Listeners frequently described the combined guzheng–harp sound as transparent, spatially resonant, and immersive. The findings suggest that the interaction of guzheng melodic expressivity and harp resonance can create a distinctive sonic environment that encourages attentive listening and aesthetic engagement, highlighting the potential of cross-cultural plucked-string collaboration for future interdisciplinary research on music and wellbeing.

References

Aigen, K. (2013). The study of music therapy: Current issues and concepts. Routledge.

Aldridge, D. (1996). Music therapy research and practice in medicine. Jessica Kingsley Publishers.

Barrett, E., & Bolt, B. (2010). Practice as research: Approaches to creative arts enquiry. I.B. Tauris.

Bhabha, H. K. (1994). The location of culture. Routledge.

Blesser, B., & Salter, L.-R. (2007). Spaces speak, are you listening? Experiencing aural architecture. MIT Press.

Bradt, J., & Dileo, C. (2014). Music therapy for stress and anxiety reduction in coronary heart disease pa-tients. Cochrane Database of Systematic Reviews, 2014(12), CD006577. https://doi.org/10.1002/14651858.CD006577.pub3

Braun, V., & Clarke, V. (2006). Using thematic analysis in psychology. Qualitative Research in Psychology, 3(2), 77-101. https://doi.org/10.1191/1478088706qp063oa

Clarke, E. (2005). Ways of listening: An ecological approach to the perception of musical meaning. Oxford University Press.

Fletcher, N. H., & Rossing, T. D. (1998). The physics of musical instruments. Springer.

Godøy, R. I., & Leman, M. (2010). Musical gestures: Sound, movement, and meaning. Routledge.

Huron, D. (2006). Sweet anticipation: Music and the psychology of expectation. MIT Press.

Juslin, P. N., & Västfjäll, D. (2008). Emotional responses to music: The need to consider underlying mechanisms. Behavioral and Brain Sciences, 31(5), 559-575. https://doi.org/10.1017/S0140525X08005293

Juslin, P. N., & Sloboda, J. A. (Eds.). (2010). Handbook of music and emotion. Oxford University Press.

Koelsch, S. (2014). Brain correlates of music-evoked emotions. Nature Reviews Neuroscience, 15(3).

MacDonald, R., Kreutz, G., & Mitchell, L. (Eds.). (2012). Music, health, and wellbeing. Oxford University Press.

Magee, W. L., & Stewart, L. (2015). Music therapy and neuroscience. Oxford University Press.

Meyer, L. B. (1956). Emotion and meaning in music. University of Chicago Press.

Nettl, B. (2005). The study of ethnomusicology. University of Illinois Press.

Roads, C. (1996). The computer music tutorial. MIT Press.

Salimpoor, V. N., Benovoy, M., Larcher, K., Dagher, A., & Zatorre, R. J. (2011). Anatomically distinct dopamine release during anticipation and experience of peak emotion to music. Nature Neuroscience, 14(2), 257–262. https://doi.org/10.1038/nn.2726

Schiavio, A., & Høffding, S. (2015). Playing together without communicating? Music, interaction, and em-bodiment. Music Perception, 33(3), 366-376.

Small, C. (1998). Musicking: The meanings of performing and listening. Wesleyan University Press.

Su, J., Hu, H., Zhan, R., & Ye, X. (2025). Localization of Chinese traditional instruments in music therapy: A case study of guzheng and pipa. Advances in Psychology, 15(12), 147–153. https://doi.org/10.12677/ap.2025.1512638

Tan, S. L., Pfordresher, P. Q., & Harré, R. (2010). Psychology of music: From sound to significance. Psychology Press.

Thaut, M. H. (2005). Rhythm, music, and the brain: Rhythm, music, and the brain: Scientific foundations and clinical applications. Routledge.

Wan, Y., Lu, Y., & Zhang, M. (2024). Therapeutic instrumental music performance for fine motor rehabilitation in children with cerebral palsy. Chinese Journal of Rehabilitation Medicine, 39(8), 1102–1106.

Wigram, T. (2002). Indications in music therapy. Jessica Kingsley Publishers.

Wong, D. (2004). Speak it louder: Asian Americans making music. Routledge.

Zhao, Y., Lai, S., Lü, W., Zhao, M., & Qi, J. (2025). Effects of guzheng-based music therapy on brain function in children with autism: Evidence from EEG analysis. Journal of Biomedical Engineering, 42(3), 589–596.

Downloads

Published

2026-04-25

How to Cite

Cross-Cultural Resonance: Practice-Based Artistic Research on Guzheng–Harp Collaboration and Listener Experience. (2026). Art & Design for Humanity, 2(04). https://www.adh-journal.com/index.php/journal001/article/view/53