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This article attempts to identify Georg Lukács' particular contribution to the problem of musical mimesis, as presented in his work The Specificity of the Aesthetic (Die Eigenart des Ästhetischen). Of particular interest is Lukács' solution to the problem of how music, which is so far re moved from reality (using only sounds, not images or concepts), is ultimately - like the other arts - a mimesis (representation) of that reality. Lukács' answer is discussed here through an analysis of his essay on music from The Specificity of the Aesthetic and compar ing it with other approaches (Enlightenment aesthetics and especially the opposing view of Eduard Hanslick). The concluding assessment is that Lukács' musico-aesthetic essay makes an important contribution to the theory of musical mimesis, which has not been sufficiently recognised by contemporary aesthetics. [ABSTRACT FROM AUTHOR]

This paper discusses the embodiment of Chinese life philosophy in Chinese traditional music education and emphasizes its important enlightenment to traditional music education. The innovation point lies in the in-depth study of the lack of reflection on Chinese philosophy of life in traditional music education. It puts forward how to integrate the principles of life philosophy, such as “harmony, Qi and imagery”, into the specific process of music education. The specific process includes discussing the basic concepts of music education in ancient China and exploring the application of life philosophy to music aesthetics. Through the philosophical embodiment of Chinese life philosophy, such as “harmony between heaven and man” and interactive trauma, this paper emphasizes the philosophical aspects of traditional music education, as well as the “harmony” and “imagery” in music aesthetics. Finally, this paper summarizes the importance of life philosophy in Chinese traditional music education, and discusses its potential value and enlightenment to traditional music education.