As a Chinese vocal performer, a researcher, and an educator, my artistic and teaching practices have centered on the exploration of voice and sound. However, the nature of listening itself—vibration/becoming as its onto-epistemological significance, autotheory as its methodological approach, and deep listening (inspired by Pauline Oliveros’ practice and theory) as its performative dimension—requires in-depth examination. This research reconceptualizes listening not as passive reception but as affective becoming: a vibrational, relational process that entangles bodies, environments, and meanings, thereby addressing the following questions: How can deep listening function as a bridge between acoustic environment, musical practice and philosophical inquiry, and how might this bridge support more inclusive, universalized music education across different cultural contexts (with particular attention to contemporary Chinese music education)?Using an autotheoretical approach, which is the integration of the self, of lived experience folded into art, philosophy, and theory, I conducted a deep listening workshop as practice serving as a situated, performative mode of inquiry into memory, space, and silence. This workshop has been designed to entangle with posthuman pedagogy, new materialism perspectives, and theories of affect, capable of cultivating empathy, relationality, and cross-cultural connection. Analysis yields three intertwined dimensions of listening: (1) onto-epistemological—listening as embodied entanglement with more-than-human vibrational fields; (2) methodological—practice-led knowledge (performance, soundwalking) integrated with conceptual work to produce dialogic understanding; (3) performative—treating the world as a “theater of all sounds,” which re-vibrates affective intensities and widens who and what counts as musical participation.I propose concrete pedagogical strategies that transform these ideas into bridge-building practice: (a) curriculum designs that center guided deep-listening, which onto-epistemologically return to listening itself, shifting the focus from the mere imparting of knowledge to vibration and becoming of creative practice; (b) the adoption of autotheoretical paradigm methodologically, entangling each individual’s life experiences with theoretical learning and skill cultivation; (c) site-responsive, theatrical approaches that performatively foreground interaction and place—through sonic meditations, soundwalks, ensemble improvisations. These strategies reorient Chinese and global music education from content transmission toward inclusive, relational creativity that challenges prejudice and fosters unity.