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The primary purpose of the study was to explore the current situation of Chinese music majors' self-regulated learning (SRL) in the individual music practice context. Two undergraduate piano players' music practice profiles were collected using SRL microanalysis protocols and follow-up semi-structured interviews. The results have shown: (1) there were obvious differences between the two Chinese music majors' before, during, and after their practice sessions; (2) both participants' SRL during music practice could be enhanced by developing advanced practice strategies (including metacognitive and mental strategies); (3) music majors' SRL has been influenced by Chinese culture when seeking help from teachers and in self-attribution; (4) the SRL microanalysis can effectively obtain specific contextualized information regarding music majors' behavior, cognition, and affect during their practice in the Chinese context. This study reflects the Chinese music majors' current situation in terms of self-regulated music practice and provides insights useful to understanding the practices of students influenced by Chinese culture and improving them to achieve higher levels of self-regulated music practice. [ABSTRACT FROM AUTHOR]

Transmitting traditional music for sustainability has been a common theme in global music education. Recently, the school systems of Hong Kong and Guangdong have been encouraged by governmental authorities to teach Cantonese opera aiming at enhancing the sustainability of the genre and promote a Chinese cultural identity within students. This paper details a survey of school music teachers working in Hong Kong and Guangdong examining the current state of Cantonese opera teaching in the schools of both regions and investigate how it is affected by teacher variables including their interest in Chinese opera, the confidence in teaching the subject, and their perceptions of their Chinese cultural identities. A total of 1,974 valid questionnaires were received and examined. Descriptive and inferential statistics including MANOVA and chi-square tests were used to analyze the data. Findings reveal that Cantonese opera teaching is limited in both regions. While teachers are modestly interested, confident, and knowledgeable about teaching the genre, there is a significant relationship between the music backgrounds of teachers and their interest in Cantonese opera. The article discusses the findings within the context of a historical predominance of Western music within music education curricula and wider societies. Implications for policy makers are proposed. [ABSTRACT FROM AUTHOR]

The preservation of intangible cultural heritage (ICH) and the sustainability of an art form rely on the transmission of knowledge and continuous evolution in ways that can adapt to changing socio-cultural environments. This paper presents the development of a project that gamified the learning of Cantonese opera movements and evaluated its motivational effects and educational affordance. The serious game consists of a total of 30 foundation sets of Cantonese opera movements captured by a professional performer, which are challenged and scored against the player's movement through a motion-sensing camera. An evaluation was conducted by other Cantonese opera performers (N = 4), whose positive responses support the learning opportunities that could be afforded and its potential in stimulating learners' interest in Cantonese opera. Findings of this study implies the feasibility of applying digital game-based learning to the preservation of ICH. [ABSTRACT FROM AUTHOR]