Despite being busy with work, whenever there is an invitation for an art education lecture, Wu Yuxia, the president of the Chinese National Orchestra Society and a pipa player, will try her best to make time to attend. From performance demonstrations to theoretical explanations and interactive Q&A sessions, she meticulously prepares for every lecture. The lecture not only covers traditional Chinese music performance techniques, analysis of works, and aesthetic concepts, but also showcases her attention and reflection on aesthetic education and the inheritance and development of ethnic music. Why spare no effort in promoting ethnic music? Wu Yuxia often said, "Culture transforms people, culture nourishes the heart, and today's recipients are tomorrow's disseminators. In her view, spreading traditional Chinese music that has lasted for thousands of years is the mission of contemporary Chinese music practitioners. The pipa solo "Spring River Flower Moon Night" is full of poetry, the pipa ensemble plays "Wind Plays Willow" with wit and humor, and the pipa erhu double concerto "Cloud Shadow" is soothing and pleasant... This summer, the "Open the Door of Art" summer series performance at Zhongshan Park Music Hall welcomed a special concert - Wu Yuxia and her students appeared together. In addition to bringing wonderful performances, there is also an appreciation section to explain the stories, spirits, and emotions behind each piece of music to the audience. In Wu Yuxia's view, this "lecture in one" concert format is exactly what is urgently needed for the inheritance and development of ethnic music. "The presentation of a good work is a magnetic resonance between the listener and the performer. I particularly hope to use the stage of performance to communicate with the audience and stimulate more people's interest in traditional Chinese music." For decades in her artistic career, Wu Yuxia has been committed to integrating performance with teaching and research. Sow more seeds of art, let them take root, sprout, and grow vigorously, only then can the garden of folk music be more vibrant. Folk music bears the unique feelings and aesthetics of Chinese people. Wu Yuxia believes that a performer is not only a performer of a work, but also a transmitter of artistic ideas. She believes that the expression of a work should not be limited to the intensity and speed of external changes, but should deeply explore the cultural connotations, aesthetic implications, and philosophical thinking behind the work. It is necessary to combine the cultural context given by the music and choose appropriate sounds and emotions to interpret it. In recent years, Wu Yuxia has held lectures at several professional art schools such as China Conservatory of Music, Sichuan Conservatory of Music, and China Academy of Chinese Opera, sharing her experiences in stage performance art over the years. The three linkage teaching method of "reading, singing, and playing music scores" is a concept summarized by her years of teaching practice. The process from "reading" to "playing" is an important way to comprehensively interpret music, whether it is auditory memory in the form of "filling ears" or exploring the historical and cultural connotations behind music texts. For Chinese music performers, paying attention to and studying excellent traditional Chinese culture is an important prerequisite for conveying the artistic conception of their works. The presentation of a work is not only a display of skills, but also a profound understanding of the world and life. As the saying goes, 'Kung Fu lies outside of poetry'. Only in this way can a work be presented that is both technically advanced and culturally profound. Wu Yuxia's artistic career began at the Youth Palace, and this experience had a profound impact on her. She believes that learning traditional Chinese music is not only about acquiring performance skills, but also about perceiving and experiencing beauty. Therefore, in addition to dedicating herself to the research of ethnic instrumental performance art, Wu Yuxia also attaches great importance to the promotion and development of basic music education. From the "Open the Door to Music" series of performances that began in the 1990s, to institutions such as China Children's Centers and various youth centers, Wu Yuxia's figure can be seen everywhere. Faced with Qin Tong, who has just started learning musical instruments, she patiently guides and uses images to help beginners understand the rich connotations of traditional ethnic instrumental music. Faced with parents' questions, Wu Yuxia repeatedly emphasized that the value of art learning lies in the acquisition of norms and methods, as well as the refinement of character through practice. In her opinion, only through repeated analysis of musical notes can one experience the nourishment provided by art in the tedious technical training. Four strings, one piece of music, one performance after another, and one demonstration lecture after another, the fingertips of pipa player Wu Yuxia are not only beautiful melodies, but also continuous thinking and responsibility for the inheritance and development of ethnic music. (New Society)