Abstract
Musical interpretations can develop one’s tendency to experience flow during musical performances. This pretest/posttest study casts light on the effect of musical interpretation on music students’ disposition to experience flow during the musical performance. Flow experiences were measured using a short version of the 36-item Dispositional Flow Scale-2 (DFS-2). The study participants were 334 Chinese students enrolled in higher education institutions in the People’s Republic of China. Students first completed the DFS-2 questionnaire before the musical interpretation challenge and then the groups were post-tested. The mean total score of the DFS-2 in Group B suggests that the musical interpretation course had a positive impact on students’ disposition to experience flow during musical performances, with an average of 10% increase observed. The most notable surge was seen in action and awareness merging. The results of the study can be useful to integrate musical interpretation practices into the standard curriculum to guide music students into the flow experience.
Keywords
The flow state in music refers to a state of full engagement, control, concentration, and action awareness that is characterized by clear goals, distortion of time perception, loss of self-awareness, and a balance between the challenges and skills necessary to best perform a musical composition (Chirico et al., 2015). From a musical perspective, the interpretation of a piece of music is fundamental to the performance of music. Interpretation allows music from different historical periods to be reproduced while giving it new readings (Trapkus, 2020). However, many performers have limited or no experience in building interpretation skills. They often attend lessons and rehearsals without exercising any clear personal interpretation. The instructor then provides the student with their interpretation, rather than teaching the student how to interpret, and the cycle continues. There is evidence that students who had interpretative practices demonstrated better musical performances in the future, as one of the recent studies on the subject suggests (Meissner & Timmers, 2020). This information enables looking at interpretation as an integral and necessary part of the study of a piece of music (Trapkus, 2020).
In musicology, the category of interpretation is widely represented from different positions. The definition of interpretation adopted in many musicological studies states that the reading of a musical composition depends entirely on a particular performer and his or her ability to perform music (Siljamäki & Kanellopoulos, 2019). Moreover, there are reported similarities between improvisation and interpretation, which, however, have not been studied in much detail (Siljamäki & Kanellopoulos, 2019). Research findings on specific music teaching methods can be summarized from the analysis of fundamental research on music education pedagogy, as well as from research on music interpretative practices, which confirm that music interpretative practices improve the quality of musical performances (Katz-Buonincontro et al., 2020).
Musicians use a wide variety of cognitive and physiological skills to perform music daily (Kenny, 2011). Although a musician possesses a wide range of strengths, much of the literature on optimal music performance has focused on developing methods to improve performance skills (Kenny et al., 2014). Research findings regarding high-performance skills focus on building strengths and enhancing musical performance, and with this, there is growing interest in the flow theory, a subjective psychological state often associated with optimal functioning (Cohen & Bodner, 2018). Several authors have suggested (Fullager et al., 2013; Lamont, 2012) that techniques to stimulate getting into the flow state may improve musical performance skills. However, there are few studies on the flow state in musical performance (Sinnamon et al., 2012; Wrigley & Emmerson, 2011), indicating a paucity of data on this issue.
The importance of investigating the influence of musical interpretation on the development of abilities to immerse in the flow state suggests the relevance of the chosen topic. This article presents an original and reflective exploration of how musical interpretative practices can enhance the musicians’ immersive flow state experience.
Given the evidence that students and professional musicians need to find methods to improve the quality of their musical performances and the lack of research, there is a need to collect data on musicians’ flow experiences and to explore interpretation as a way to get into the flow state more often. Such information would provide a deeper understanding of the experience of flow among musicians and support the suggestion that certain musical practices may provoke a sense of flow during the performance.
This article makes a valuable contribution to music pedagogy—the research findings demonstrate the important role of musical interpretation practices in reaching immersed flow states. This information may be an important aid in designing music lessons, courses, and programs to foster flow among music students.
Given the current interest in musical interpretation and its effects on flow states, including in the People’s Republic of China, this study is of relevance. There is also a need for new empirical data on how to determine the state of flow in music students and help them attain it while also improving their musical performance. The present study suggests that it could be done by integrating musical interpretation practices into the learning process.
Results of evaluating the effects of music interpretation on flow states can be useful to optimize the music education system and improve students’ creative success and performance quality. This article reports on the effect that musical interpretation practice has on musicians’ flow states in the context of musical performance enhancement. The objectives of the article are to (1) evaluate flow disposition in the experimental and control groups using DFS-2; (2) develop and implement a program for teaching musical interpretation; and (3) determine whether there are any differences in flow disposition after the musical interpretation challenge.
Literature review
The scientific and methodological literature offers various opinions concerning the interpretation of musical compositions. According to some evidence, interpretation manifests itself in the performance-related skills of intonation of musical text using specific means of musical expression (Akyildiz & Çelik, 2020). Interpretation is not only a performing activity but also a creative one. Without developing the basics of interpretation as a pedagogical category, the acquisition of professional performance knowledge and skills (rhythmic and harmonic features of music interpretation, principles of sound formation, breathing aspects) does not have a systematic character and is not consolidated in the subsequent professional activity (Paulinyi, 2012).
Researchers argue that the impact on the performer interpreting music through extended and embodied practice may be that the body and music become strongly connected to the musical composition (Gruhn, 2014). Therefore, incorporating the extended creative and bodily qualities of music into music learning and interpretation processes can improve musical skills and the potential deliverables of performance. Working with and through the body can facilitate the performance of technically challenging passages, can unleash an expanded physical understanding of the piece and its meaning, and is likely to affect sound production in general (Hubrich, 2016).
In theory, every interpreter of music has some degree of creative choice as to how to perform a piece of music, but the relevant concert arrangements often limit the creative workspace by requiring the musician to follow the original as closely as possible. However, if the performer is busy reproducing someone else’s ideas, then the room for creativity is limited. The final result presented in standard concerts in many cases does not reflect or signify the depth of individual inquiry, acquired knowledge and embodied experience that the performers contribute and which preceded the interpretation. In musical culture, performers’ creativity is limited to a very small degree of interpretation and tends to be defined by an assumption of a creative hierarchy in which there is little recognition of the performer’s creative contribution to the creative aspects of interpretation (Hill, 2012).
Recently, there has been growing interest in the concept of flow, a subjective psychological state often associated with peak performance (Chirico et al., 2015; Clementson, 2018). Flow is generally considered to have nine dimensions, three of which are defined as the preconditions for flow: perceived skill balance, clear goals, and immediate feedback.
The flow manifests itself in a wide range of domains: in sports, work, education, and leisure activities across a wide range of ages—among adults, university and school students, and even very young children (Butkovic et al., 2015; D. M. Johnson et al., 2012; Wrigley & Emmerson, 2011). The flow state was reported to be stable across classes, genders, and cultures (Hart & Di Blasi, 2015) and treated as a continuous variable rather than as a single entity (De Manzano et al., 2010). It is believed that flow can play a key role in motivation (Cseh et al., 2014) as flow experiences are inherently rewarding and encourage a person to persist and return to the activity, which promotes skill growth over time.
Some authors distinguish between “flow,” “peak performance,” and “optimal performance,” while others use these terms as synonyms (Nijs et al., 2012). “Flow” or “being in a flow state” usually describes a person’s subjective psychological state of mind when fully immersed and fully concentrated in an activity. Such activity is perceived as enjoyable and inherently rewarding and associated with maximum productivity (Fullager et al., 2013; Habe et al., 2021; Hart & Di Blasi, 2015; Marin & Bhattacharya, 2013; Wrigley & Emmerson, 2011). Preliminary research on the psychophysiological basis of flow suggests that there is an inverse U-link between physiological arousal and flow (Peifer et al., 2014) and a positive relationship between dopaminergic function and the propensity to stay in the flow state (De Manzano et al., 2010). Dopamine is a neurotransmitter produced by the brain that plays several roles in humans, and some studies claim it has a direct relationship to immersive flow states (De Manzano et al., 2010).
The performer’s experience is fundamental to the creation of any piece of music, but researchers pay relatively little attention to it. Music research across a range of disciplines, mainly psychology, physiology, and psychoacoustics, seeks to strengthen the application of recent trends to reveal previously unexplored aspects of performance, particularly through the performer’s subjective world. Subjective perception refers specifically to interpretation, which involves a subjective view of musical compositions (Holmes & Holmes, 2013). To this end, the authors draw on advances in qualitative theory across a range of disciplines, including philosophical thinking, social studies, music education, and the flow theory (Clementson, 2018). Support for the flow theory is discussed as a form of philosophical inquiry, implying the opportunities to address the qualitative methods of influence and practices of interpretation that have been proven effective in music performance research (Holmes & Holmes, 2013).
One recent study suggests that the concept of flow can be represented as a phenomenon associated with a significant improvement in the performance and well-being of the musician (Antonini Philippe et al., 2022b). By examining the positive experiences of musicians in performance situations, the factors contributing to flow were examined: social position, preparation for performance, connection with one’s body, skill awareness and confidence, intrinsic motivation, focus, and transcendence (Antonini Philippe et al., 2022b). Another study qualitatively investigated the necessary preconditions for attaining a flow state and its development over time. The analysis led to the identification of three phases that musicians experience during flow: preparation for entering the flow state, entering the flow state, and exiting the flow state (Antonini Philippe et al., 2022a).
Methods and sources
Measures
The individual flow experiences were evaluated using the short version of the Dispositional Flow Scale-2 (DFS-2). The DFS-2 is a self-report questionnaire designed to measure an individual’s propensity to experience flow while participating in a particular activity (Jackson & Eklund, 2002; Martin & Jackson, 2008). It contains the following nine items/statements:
Challenge/Skill Balance. I feel competent enough to meet high performance expectations.
Clear Goals. I clearly know what I want to do during a musical performance.
Unambiguous Feedback. I have a good sense of how well I am playing.
Concentration on Task. My attention is focused entirely on the piece I am playing.
Autotelic Experience. The experience is extremely rewarding.
Time Transformation. Time seems to alter while I play (i.e., to either slow down or speed up).
Sense of Control. I feel like I can control what I am doing during the performance.
Loss of Self-Consciousness. I am not worried about what others might be thinking of me.
Merging of Action and Awareness. I play the correct notes spontaneously and automatically.
Participants were asked to rate the above items in regard to how often they experienced each. The items were rated on a 7-point Likert scale, where 1 = strongly disagree; 2 = disagree; 3 = slightly disagree; 4 = neutral; 5 = slightly agree; 6 = agree; and 7 = strongly agree. Higher scores indicate a greater likelihood of experiencing flow in the same activity type. The 7-point scale allows a neutral point for respondents to choose if neither of the two extremes reflects their experience. Students had 15 min to complete the questionnaire.
Given its underlying theoretical framework and the nature of available research resources, the DFS-2 Short was deemed suitable for the current research. The nine items of the Dispositional Flow Scale-Short Form (DFS-2) correspond to the following six dimensions, which scholars identify as characterizing the flow experience (Nakamura & Csikszentmihalyi, 2009): full concentration; the intrinsically rewarding experience; merging of action and awareness; the sense of control; absence or loss of self-consciousness; and distortion of temporal experience. It thus allowed achieving the research goals. The short version of the instrument is also recommended for measuring global flow when other aspects of flow are of no interest (Martin & Jackson, 2008). Cronbach reliability analysis yielded a value of α = .65 for the current study.
The adoption and general application of the DFS-2 scale have already been discussed in the literature. The present article is supported by other studies that use the same definition of “high flow” (De Souza Costa Correia et al., 2020; Hamari & Koivisto, 2014; J. A. Johnson et al., 2014; Ullén et al., 2012).
The intervention for teaching musical interpretation features the following practices:
Musical Generalization. Students were asked to mix different genres of music, say, rock and Latin American music. This practice was meant to expand their spectrum of skills and to teach them how to work with multiple genres.
Expressive Playing. Students were instructed to emphasize emotions perceived in music by manipulating musical instruments and their voices.
Learning Ahead. Students were asked to analyze classical compositions of different genres to determine things that were interesting about them and figure out how they would sound. Using the look-ahead method, students can learn about music genres they would not normally study. Going through various genres is recommended after familiarizing yourself with a new music genre, for this strategy will help to look at them from different perspectives.
Creation of Classical Music Remixes. Students received composition assignments where they edited classical pieces (e.g., “Thunderstorm” [i.e., final movement of “Summer”] from Antonio Vivaldi’s Four Seasons, Eine kleine Nachtmusik by Wolfgang Amadeus Mozart, and Franz Schubert’s “Ave Maria”) to produce modern interpretations of classical music, including with unconventional music instruments.
Reflection on Music and Songwriting. Students were instructed to choose a music piece of their liking and write lyrics to fit with the melody. The genre did not matter. The purpose of this task was to make learners grasp the sense of the musical work.
Genre Remixing. Students were asked to convert the lyrics and music they wrote during the songwriting intervention to another genre they wrote during the songwriting intervention and the music for which they wrote them to another genre.
The above practices correspond to Csikszentmihalyi’s characteristics of flow and help to enhance the skill of musical interpretation. Another reason to prioritize these activities is that they enable musicians to achieve flow as a state. The above practices were implemented by teachers that participated in the research.
Research design and data analysis
The training took place between January and July 2021. The distribution of study participants is shown in Figure 1.
Distribution of Study Participants.
Students in the experimental group (50 people per university) attended classes twice a week for a period of 6 months; there were 160 min per week (80 min per class session). For this, students were divided into smaller groups of 10 people, with one instructor per group assigned. Each of the six different music interpretation exercises were practiced for 1 month. During the sessions, learners gathered together in a classroom equipped with microphones, audio equipment, and a variety of musical instruments, including a guitar, piano, flute, double bass, guzheng, violin, and more. The learning activities varied between groups according to the specialty; even vocal practices were used. Organizational issues were decided upon by the instructor and discussed directly with the students.
Students were presented with a list of music pieces from which they had to choose one to perform after the musical interpretation challenge. It could be either a piece they already knew or a new composition. The choice they made was not considered an influencing factor in this research. To make sure that participants in the experimental group will receive the correct instructions, the training process was monitored by the authors of the current study and special observers recruited among the local employees. Group B teachers received teaching and planning materials and completed a 1-week workshop before the experimental procedures began.
The study has a pretest/posttest research design. The steps of the research process are depicted in the study scheme below (Figure 2).
Scheme of the Study.
The DFS-2 was administered twice, before (pretest) and after the intervention (posttest). Participants were provided with a DFS-2 questionnaire with boxes to enter demographic data. The quantitative analysis we performed using the Student’s t-test. The impact of the intervention was evaluated by analyzing frequencies, means, and standard deviations. The significance level was taken as .05. Statistical analysis was performed using SPSS Statistic.
Participants and ethical issues
The study population included 334 second- and third-year students from the following three higher education institutions in the People’s Republic of China: Central Conservatory of Music (Beijing, China), Shanghai Conservatory of Music (Shanghai, China), and Fujian Normal University (Fuzhou, China). All students were invited to participate by email. Those who expressed interest were automatically included in the study. Individuals under the age of 18 were not included in the research. Hence, no consent forms were sent to the parents. All participants were informed that their responses would remain confidential and that they were free to ask questions. During the course of the study, 11 subjects withdrew for personal reasons. The information they gave was excluded from the final analysis. The total number of participants involved in the posttest was 323. All participating students were randomly assigned to be in two groups: an experimental group (Group B) and a control group (Group A). While the experimental group was engaged in the musical interpretation challenge, the control group received standard training. Given the limited resources, it was not possible to recruit more than 50 students from each of the three participating universities. Therefore, the experimental group consisted of 150 students, and the control group comprised 173 students.
Limitations
This study has several limitations. First, the students were drawn from a small sample of educational institutions. Therefore, the present findings cannot be generalized to the whole country. Another limitation is related to the design of the experimental learning program. The delivery of training under this program and, consequently, the effect will vary depending on the instructor’s teaching style and professionalism level. The overall achievements in music subjects were not taken into account. Finally, all participants were Chinese, but the impact of culture was not investigated. Using the DFS-2 data, the impact of the intervention was evaluated by t-tests on frequencies, means, and standard deviations. The significance level was set at .05. All statistical analysis was performed using SPSS.
Findings
To facilitate interpretation of the results, the DFS-2 items were compressed into a dichotomous variable of either high flow (5 = partially agree, 6 = agree, 7 = strongly agree) or low flow/no flow (4 = neutral; 3 = slightly disagree, 2 = disagree, 1 = strongly disagree). The pretest flow scores on each flow indicator, along with the global flow scores and standard deviations, are presented in Table 1.
Pretest Frequencies, Means, and Standard Deviations for Individual Flow Indicators in Group A.
The rating scale ranged from 1 (strongly disagree) to 7 (strongly agree). b High flow rate represents the percentage of respondents reporting the frequency of experiencing a flow state as 5, 6, and 7.
According to Table 1, 68.3% of the participants in Group A were in the high flow group. The most reported flow indicators in this group were the “Challenge/skill balance” (86.3%), “Clear goals” (84.2%), and “Unambiguous Feedback” (84.9%). “Loss of self-consciousness” (36.8%) and “Merging of action and awareness” (34.2%) were the least reported ones.
Table 2 shows the pretest frequencies of high flow on each flow indicator in Group B. As can be seen, 66.7% of the participants experienced high flow during performances. Means and frequencies for individual flow indicators were similar to those in Group A. The most frequently experienced flow indicator in this group was the “Challenge/skill balance” (85.6%), followed by “Clear goals” (83.1%) and “Unambiguous Feedback” (84.3%). Flow indicators such as “Sense of control” (47.2%), “Loss of self-consciousness” (37.0%), and “Merging of action and awareness” (31.0%) were rarely experienced.
Pretest Frequencies, Means, and Standard Deviations for Individual Flow Indicators in Group B.
The rating scale ranged from 1 (strongly disagree) to 7 (strongly agree). b High flow rate represents the percentage of respondents reporting the frequency of experiencing a flow state 5, 6, and 7.
Table 2 data show that Group A and Group B had similar flow experiences, indicating homogeneity. It can thus be argued that before the intervention began, students’ disposition to flow was approximately the same in these two groups.
The posttest results of the DFS-2 in Group A obtained in late July were similar to those from February (Table 3), with a slight increase in the general frequency of high flow scores from 68.3% to 69.2% (up 0.9%). This finding suggests that the traditional education program without musical interpretation practices does not improve one’s ability to reach an immersed flow state.
Posttest Frequencies, Means, and Standard Deviations for Individual Flow Indicators in Group A.
The rating scale ranged from 1 (strongly disagree) to 7 (strongly agree). b High flow rate represents the percentage of respondents reporting the frequency of experiencing a flow state 5, 6, and 7.
Table 4 shows posttest frequencies, means and standard deviations for individual flow indicators in Group B. The results suggest that musical interpretation had a positive impact on musicians’ disposition to experience flow during musical performances.
Posttest Frequencies, Means, and Standard Deviations for Individual Flow Indicators in Group B.
The rating scale ranged from 1 (strongly disagree) to 7 (strongly agree). b High flow rate represents the percentage of respondents reporting the frequency of experiencing a flow state 5, 6, and 7.
The percentage of respondents capable of experiencing high flow during performances increased from 66.7% to 76.7% after the intervention. These findings suggest that with musical interpretation, the average percentage of music students capable of achieving high flow during performances would be 10% higher compared with traditional learning. Regarding the most frequently experienced indicators, students reported an increase in “Challenge/skill balance” from 85.6% to 90.1%. The frequencies of “Clear goals” and “Unambiguous Feedback” became 88.2% and 89.4%, respectively. Despite a significant increase in the means and frequencies for “Sense of control,” “Loss of self-consciousness,” and “Merging of action and awareness,” these indicators remained among the least reported ones.
For the convenience of analysis, the mean frequencies for individual flow indicators obtained before and after the musical interpretation challenge were presented against each other in a comparison chart (Figure 3). As can be seen, the most profound surge occurred in “Merging of action and awareness,” that is, playing the correct notes spontaneously and automatically, the mean frequency of which went up 20.8%. The most likely explanation of this effect is that the act of performing their own music allowed musicians to immerse themselves even more into the process.
Comparison of Mean Frequencies of High Flow Before and After the Musical Interpretation Challenge.
Following a similar pattern, the frequency of “Loss of self-consciousness” went up by an average of 14.2%. The growth of this factor can be explained by the fact that students practiced their skills of playing unfamiliar pieces with confidence that the performance would be positively received.
The musical interpretation challenge also improved the “Sense of control” and strengthened “Time transformation.” The difference was 11.7% and 12.2%, respectively. Flow indicators such as “Full concentration” and “Merging of action and awareness” grew by 8.0%. Other indicators demonstrating improvement were “Clear goals,” “Unambiguous Feedback” (the frequency of each increased by 5.1%), and “Challenge/skill balance” (which went up by 4.5%).
Discussion
The results of the introduction of musical improvisations, which share some similarities with musical interpretations, demonstrate a significant capacity for learning to create music professionally (Siljamäki & Kanellopoulos, 2019). There is also evidence that interpretation discloses the perception that embodied rather than reflective music learning influences creative production (Braaten-Hager et al., 2021).
A Canadian scholar studied the creative process of interpretation by experienced musicians (Héroux, 2016). Using the data collected from the rehearsals and interviews, the creative interpretation process for each subject was summed up. This study argues that:
Interpretations achieved by experienced musicians include a dimension of creativity that goes beyond simply learning to play a piece in a controlled manner;
There are phases, strategies, or creative processes that relate to creating an expressive performance; hence, musical interpretations make for better musical performances (Héroux, 2016).
These data partially correlate with the results obtained in this article.
Researchers from different countries have investigated flow states when listening to and performing music, while creating compositions, and during musical performances (Chirico et al., 2015; Fullager et al., 2013; Lamont, 2012; Sinnamon et al., 2012; Wrigley & Emmerson, 2011). Their findings indicate that musical practices and new experiences can increase the frequency of specific flow experiences during the performance, which was also a finding in this study.
Some scholars (Fullager et al., 2013; Lamont, 2012; Wrigley & Emmerson, 2011) have suggested that immersion in music can be an effective tool for achieving optimal performance, to help reduce anxiety during the performance (Cohen & Bodner, 2018). This article suggests that students who practice musical interpretations are more likely to get absorbed in the performance, while a reduction in the “Loss of self-consciousness” may result in lower anxiety during the performance.
Researchers analyzed 10 quantitative flow studies concerning music and found that music practices positively influenced the frequency of dispositional flow occurrence in musicians (Chirico et al., 2015). Another researcher who reviewed the existing studies of flow in a musical context suggested that being in flow improves the performance abilities of musicians (Kim, 2016). This finding is in line with the present study. Another researcher (Keay, 2018) analyzed 50 flow studies and divided them into three categories: music performance, music learning, and music consumption. He derived a hypothesis that the growth of musical ability results in a higher frequency of flow states.
Several other studies focusing on the flow state deal with physiobiological aspects of flow (De Manzano et al., 2010), the relationship between flow and emotion (Marin & Bhattacharya, 2013), and group flow (Bishop, 2018; Sawyer, 2016). These papers focus on finding methods to develop one’s ability to experience flow during concerts, and interpretation in this context may be viewed similarly to this study.
Recent research suggests that music creation and music education often occur in groups, possibly contributing to the increased frequency of achieving flow (Sawyer, 2016). This study can neither refute nor confirm this information, as the creation of interpretations was done in groups of 10. This topic may be of interest for future research that may seek to investigate how flow experienced individually can be shared with others, and how flow is experienced jointly (Tan & Sin, 2021).
Conclusion
The major findings of this study are that the traditional music education program with no practices aimed at teaching musical interpretation does not help music students achieve flow. The musical interpretation course appears to have a positive effect on musicians’ disposition to experience flow during musical performances, as evidenced by the posttest achievements reported by students in Group B. The most notable jump occurred in “Merging of action and awareness” and “Loss of self-consciousness.” Also, musical interpretations had a positive effect on “Sense of control” and “Time transformation.” The experimental group demonstrated an improvement in the factors of “Full concentration,” “Autotelic experience,” “Clear goals,” “Unambiguous feedback,” and “Challenge/skill balance.”
This study has practical and scientific value. It demonstrates the influence of musical interpretation on the frequency of flow states among music students. These findings may encourage higher education institutions to integrate musical interpretation practices as an effective way to improve the quality of musical performances. Researchers can use the present findings in their research on the flow state, musical interpretations, music education, and related topics. The research findings can also be applied at musical educational institutions (universities, music schools, orchestras, philharmonic orchestras) in the People’s Republic of China and other countries. Future research should focus on evaluating the impact of other musical practices on the musicians’ disposition to experience flow and on investigating how a flow experienced individually can be passed to others and how it is experienced jointly.
Footnotes
Data availability statement
Data will be available on request.
Declaration of conflicting interests
The author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.
Funding
The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: Supported by “the Fundamental Research Funds for the Central Universities” South-Central Minzu University (CSZ21012) and Philosophy and Social Science Research Project For University in Hubei Province (21G052).
