<![CDATA[The purpose of this study is to apply a direct instruction learning model for students and to analyze the characteristics, form, function, and meaning of Fa’qi music as an accompaniment to devotional hymns at a Buddhist College. Research on Fa’qi music was conducted through the direct instruction learning model, covering both theory and practice. A qualitative method was used in this study with an interdisciplinary approach. Data sources included participant observation, interviews, and documentation. Data analysis utilized theories of aesthetics, ethnoreligion, and semiotics. The research findings include: (1) the direct instruction model facilitates students’ practice and mastery of Fa’qi music accompanying the Puja Bakti chants of Mahayana Buddhists in the form of chanting through the following stages: wensin, namaskara, incense-offering gatha, vandana, and praise gatha; (2) Fa’qi music, as an accompaniment to the devotional songs of Mahayana Buddhists, serves as a medium connecting the faithful to the Buddha and facilitating communication with him, as a medium for aesthetic expression, a means of strengthening social bonds, and as an identity marker for Mahayana Buddhists; (3) the significance of Fa’qi music as an accompaniment to devotional songs. The findings indicate that a hands-on learning model facilitates students’ ability to learn, understand, and practice Fa’qi music based on the concepts of Buddha Ghosa, including: the structure and composition of the music have proven ideal for accompanying devotional chants continuously recited by Mahayana Buddhists during every ritual activity at the temple; these chants can be understood, comprehended, and practiced wisely by the congregation.]]>
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