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Chinese basic music education has always played an important role in cultivating students’ aesthetic taste and improving their cultural literacy. However, under the background of rapid social and economic development, and cultural diversification, basic music education is also facing new challenges and opportunities. In the past, music education generally paid attention to skill training and emphasized the inheritance of classic works, but the demand for music education in today’s society puts more emphasis on creativity, comprehensive quality and personality development. Therefore, it is of great practical and theoretical significance to study the current situation and development of basic music education in China and discuss the problems and prospects. Through in-depth research on the current situation of basic music education in China, we can comprehensively understand the main characteristics, existing problems, teachers, teaching materials, facilities and other aspects of current music education. This will help to reveal the bottlenecks and deficiencies in the education system and provide a basis for formulating more scientific and rational education policies. The policy of basic music education in China is being influenced by research on educational philosophy, particularly when it comes to providing theoretical and ideological support for the creation of new national curriculum standards for basic music education. It would have a significant effect on China’s fundamental musical education. Therefore, it is essential to carry out in-depth research on the state of play and the evolution of China’s fundamental educational concept for music. In recent years, Chinese basic music education has gradually paid attention to cultivating students’ creativity and comprehensive quality. Music is not only a skill, but also an art that helps cultivate students’ creative thinking and comprehensive development.

This paper aims to discuss the translation of aspects of Chinese culture to the Brazilian reader, based on reflections about foreignization and domestication. Therefore, starting from definitions of culture and cultural aspects, we will demonstrate that the dichotomy between these two strategies would not contribute to resolve the mentioned question. Then, we will make an introduction about Zhongyong theory and present a theoretical translation model which is inspired by this Confucian philosophy. Finally, with the illustration of such model in the translation of a Chinese essay, we show that, in order to deal with the cultural aspects in the translation between Chinese and Portuguese, it is possible for the translator to take a middle way that harmonizes the use of both foreignization and domestication. [ABSTRACT FROM AUTHOR]