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In this study, we evaluated the validity and reliability of a Chinese adaptation of the Self-Regulated Practice Behavior (SRPB) scale developed by Miksza. Tasks included supplementing, altering, and translating items to create a viable adaptation for Chinese music majors and evaluating the construct validity and reliability of the Chinese-adapted Self-Regulated Practice Behavior (C-SRPB) scale. Confirmatory factor analysis and exploratory structural equation modeling (ESEM) were used to analyze responses provided by Chinese music majors (N = 880) from various music conservatories and universities. Results indicated that an adjusted six-factor ESEM model was the best fit to the data. Internal consistency reliability coefficients for the subscales ranged from good to excellent ([alpha]s = 0.77-0.86). Significant correlations between six subscales of C-SRPB and practice habits (i.e., daily duration, self-rated efficiency, and percentage of time spent on informal practice) provided criterion validity evidence. Overall, the findings suggested that the C-SRPB is a valid and reliable tool for measuring the self-regulated music practice of music majors in China. The results also suggest that music majors' understanding of self-regulated practice vary according to individualistic and collectivist culture contexts.

Demonstration lessons are used in China to provide models of quality music instruction. However, to date, no research has been done on the quality of demonstration lessons and how this relates to the improvement of school music education in China. This content analysis provides an insight into China's music demonstration lesson implementation and its contextual adaptation for student-centered education (SCE). A total of 19 music demonstration lessons over 760 minutes have been examined, using both a systematic observational method and a qualitative thematic analysis method to look at in-class behavior and interaction. An analysis of data reveals that: (a) direct content-driven activities are still taking dominant roles in class, (b) students' individuality is seldomly promoted, (c) activity-based lesson structures have become prevalent, and (d) sequential patterns under a behaviorist perspective still can be seen in China's demonstration lessons. Although findings may not necessarily represent exactly what is happening in a regular school setting and it reveals a different adaptation of SCE compared to an international perspective, it serves as a starting point for understanding the official educational views of China and a different angle in perceiving the adaptation of SCE in practice under China context.

Although creativity in music is a topic widely considered and studied among global music educators, it has received limited attention in China while quite a number of Chinese pianists have been recognized on the international stage. How do Chinese pianists and professors perceive creativity in piano performance? How would they nurture creativity in the performances of their own and/or their students? Employing the Grounded Theory approach, this study investigated the perceptions of creativity in piano performance of 13 eminent pianists and professors from Beijing, Shanghai and Guangzhou through a series of semi-structured interviews. The interviewees identified several factors related to the development of musical creativity in piano performance, including pianists' relevant knowledge, their musical and life experiences, imagination and association, reflection and musical judgment, performing environments, and the Chinese cultural elements of holism and dynamism. Implications for teaching include the encouragement of a balance between Western and Chinese epistemologies in both analytical and abstract thinking. In nurturing students' creativity in piano performances, students should live in culture-related contexts, and understand the world in a holistic epistemology with an abstract imagination. This study has further provided a more holistic understanding of how to nurture musical creativity with an alternative perspective.

For decades, the transmission of Cantonese opera in Hong Kong and China has faced considerable challenges, including a lack of valid assessment. This study aims to propose a holistic theoretical framework for the assessment of Cantonese operatic singing after {1) analysing two graded examinations of Peking opera and Cantonese opera and {2) interviewing ten Cantonese opera experts and their students from Guangdong and Hong Kong. Findings reveal that the designs of the existing graded examinations in xiqu are still developing; multiple problems exist in the daily assessment practices including: (1) dependence on subjective perception, (2) a focus on the assessment of performance skills and a lack of multidimensionality, and (3) an inclination to momentary judgment and a lack of sustainability in assessing and documenting students' progress. Suggestions include introducing criterion- and standard-based assessments and increasing cooperation between artists and education experts, which may further promote the inheritance, popularity, and development of this traditional art form.

In the twenty-first century, there has been significant discussion worldwide about students and their learning processes. This study, designing with a student-centred education (SCE) training for three school music teachers over the nine weeks, aims to fill a gap left by the inadequate number of empirical studies examining the implementation of music lessons in China in an SCE era; it also aims to support a global understanding of SCE's pedagogical adaptation to the Chinese context by using a multiple case study conducted in Province X. The findings illustrate that although SCE has been well promoted in China and its adaptation might seem to be characterised by teacher-centred education, there might be within music education an adjusted SCE adaptation with reasonable contextual challenges and difficulties. Thus, in lieu of descriptions of the Chinese adaptation of SCE as a 'failed implementation', this study reveals a more nuanced situation in which SCE is adapted to China's specific cultural and logistical contexts with large classes, in which instruction takes place.

A revised abstract is as follows: Cantonese operatic singing is widespread in Hong Kong with numerous amateurs learning in community club settings. However, limited research has been taken on how amateurs learn in the community. This article reports on an autoethnographic study of a community music club catering to Cantonese operatic singing in Hong Kong. The author joined the club for six years as a full member and attended weekly gatherings to identify the features characterising informal learning with participant observations and informal conversations as research methods. Trustworthiness of the study was built on developed rapport with three members and lengthy period of data collection. Influenced by Chinese traditional culture and beliefs, a proactive learning attitude with industry, a competency of self-learning, and the development of positive inter-personal relationships were keys to earning the respect of senior members for access of learning. This study implies a need to balance between informal learning and a systematic pedagogy.

The primary purpose of this study is to explore how parents involve themselves in their children's music practice. It is based on the retrospective views of Chinese collegiate students majoring in music. A total of 14 Chinese students participated in individual semi-structured interviews. The qualitative analysis in this study centred on the type and frequency of parental behaviours. The results demonstrate that each of the participants remembered their parents being involved in their music practice to varying degrees. Specific types of involvement are organised into five categories: controlling, supervising, supporting, engaging, and prohibiting. Based on the findings, a model is proposed to aid understanding of the complexity of parental behaviour of music practice in the Chinese context. A potential trajectory of parental behaviours pertinent to highly self-regulated music learners was also identified. The study suggests possible theoretical foundations for further exploration of the role of parents in music learning.

Sustainability has been incorporating multiculturalism in music education (MME) for decades, but the dialogs of MME in China has always focused on school education, neglecting community-based music education. The cultural-political context of this study is in Xijiang, southwest China, where is a Miao-dominated community integrating Miao, Han and other ethnic cultures. This study employed a mixed-method approach with a convergent parallel design that combined a survey with qualitative methods including casual conversation, semi-structured interview, and documentary analysis. Findings revealed that despite the promotion and inheritance of Miao's music are highly valued, and the interest of minority ethnic communities in engaging in music learning and performance remains considerable, the sustainability of multicultural music education in Xijiang is in question. Problems are attributed to inadequate and unequal educational resources, devaluation of state institutes, shortage of teachers, and high illiterate rate. This article contributes to theorizing on sustainability in multicultural music education within a multicultural background in southwest China, by identifying the stakeholders in the education system and drawing on the empirical evidence on the truly needs of communities. The implications of the study include improvements in the development of multicultural music education.

The purpose of this study was to explore how instrumental teachers reflect their professional development pathways with reference to their own apprenticeship experiences. The participants were three female instrumental teachers who taught the piano and violin. Reflections of teachers' own learning experiences on their career pathways and professional development were collected from the participants through interviews, teaching diaries, and field notes. Several themes emerged from the data collected over an approximately six-month period. First, all the participants experienced long musical apprenticeships. Second, the teachers rarely perceived pedagogical skills are 'learnable' skills as performing skills. Finally, all the teachers were only interested in practical, examination-oriented professional development programmes, as opposed to academic or pedagogically-oriented outcomes such as journals or conferences. The unitisation of professional development choices would appear to be the most urgent and pressing problem faced by instrumental teachers.

Although creativity in music performance is a global issue among music educators, it has nevertheless received less attention in China. How do piano teachers in China cultivate their students' performance creativity? This article reports on a multiple-case study undertaken in a university located in Guangzhou, China that aimed to examine the teaching strategies of three piano majors and observe their learning responses. The first author taught the students for 14 lessons within a semester, the data coming from a combination of video recordings for observation, self-reflection and semi-structured interviews. Qualitative data from the interviews and video recordings were coded based on the categories and themes that emerged from repeated observations of the video clips. The results indicate that teachers may cultivate performance creativity by nurturing students' imaginations as it relates to individual knowledge and experience. Autonomy in musical expression should be encouraged through teaching genres other than Classical music.

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]

In this study, we investigated the factors affecting the motivation of studio-based instrumental learners in Hong Kong. We interviewed a total of 13 participants who learnt the violin and/or the piano. We analyzed the interview data by selective coding accordingly to the three basic needs in the conceptual framework of Basic Psychology Needs Theory, which is one of the mini-theories from Self-Determination Theory. The thematization of basic needs are (1) autonomy, (2) relatedness, and (3) competency. We found relatedness and competence were more related to our participants. This study contributes to the understanding of studio-based, learning-environment characteristics as well as specific motivation factors attributed to the distinctions between the violin and the piano learning environments in Hong Kong. We also discussed the issues of music learning in school and teacher's style of teaching practice.

Transmission of traditional art forms in the modern world has been a major issue in the field of arts education. Different issues have been raised on how to preserve the traditional art forms for further development. Cantonese opera is a representative Chinese opera popular in south China including Hong Kong. However, the genre has been experienced fluctuation since 1950s with the difficulties of transmission through oral tradition to conservatory tradition. While the Hong Kong Government promotes the genre to reserve the cultural tradition, great masters have been fading out and younger generation encounters difficulties in inheriting the genre. This article reports parts of a large-scale study on the nature and characteristics of oral tradition, learning in community settings, conservatory tradition, and proposes a model of transmission of Cantonese opera in Hong Kong. The model may shed light on preserving, inheriting, and further developing traditional performing arts in the modern world.

The Ministry of Education of China issued a new document of Music Curriculum Standards in 2011 substituting the old version of 2001. This study aims to investigate how music teachers in China implement and respond to the Curriculum Standards through a questionnaire survey and semi-structured interviews with voluntary teachers. A total of 2206 music teachers from 15 regions/provinces responded to the survey in 2015. Findings reveal that, after a few years of implementation, most teachers found different constraints in implementing the new curriculum. Trained teachers, younger teachers and experienced teachers are more receptive and capable in implementing the curriculum, while rural schools are still in a disadvantaged situation. Most teachers do not understand the concept of music education as aesthetic education. In-service training is found to be insufficient, especially in rural schools. In sum, the current 'knowledge-centered curriculum' might need to be redirected to the directions of society-centered and student-centered in order to make a balance.

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]

This study aims to examine how and why students transform in terms of learning motivation in learning the Cantonese opera with a teacher-artist partnership approach in Hong Kong schools. An artist and seven teachers from four schools collaborated to teach the genre for eight weeks. Students' learning motivation changes in Cantonese opera was measured by a set of pre- and post-learning questionnaires. Qualitative data were drawn from class observations and focus group interviews with teachers and students. Results indicate that students' motivation in learning the genre has been changed. The statistical analysis suggests that, while primary students had significantly increased their motivation in learning Cantonese opera, the secondary students' motivation had not increased. Attributions include age differences, self-consciousness, intrinsic value and socio-cultural impact. However, the partnership was found to be an appropriate and effective approach in teaching the ethnic genre for its "role supplementation" between the teacher and the artist. (Contains 2 tables and 2 figures.)

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]

In mainland China, the implementation of the junior secondary school's music curriculum is highly dependent on music teachers' attitudes towards music and music education. This study investigated the possible relationship between teachers' attitudes towards teaching Chinese folk music and their music teaching practice in junior secondary schools in Weifang, China. A total of 72 secondary school teachers responded to a questionnaire regarding their attitude towards teaching Chinese folk music and their perception of students' attitudes to learning the genre. Six semi-structured interviews with voluntary teachers were conducted to explore the constraints of teaching Chinese folk music. Findings indicate that most respondents have a positive attitude towards teaching Chinese folk music although they spent limited time teaching the genre. Teachers' attitudes are not only related to their personal musical preference and students' responses, but are also shaped and modified by the educational context of China, including music teachers' professional training, teaching responsibility, and the needs of the job market. Promoting Chinese music through education requires both music teachers and teaching policy makers to have an appropriate understanding of Chinese folk music which should not be supplementary to the main content; rather, it should be an imperative part of the music curriculum. Learning Chinese folk music is beneficial for nurturing students' musical identities. Balancing the ratio of Western classical music and Chinese folk music in music classes is helpful in cultivating students' multicultural perspectives.

In this study, we evaluated the validity and reliability of a Chinese adaptation of the Self-Regulated Practice Behavior (SRPB) scale developed by Miksza. Tasks included supplementing, altering, and translating items to create a viable adaptation for Chinese music majors and evaluating the construct validity and reliability of the Chinese-adapted Self-Regulated Practice Behavior (C-SRPB) scale. Confirmatory factor analysis and exploratory structural equation modeling (ESEM) were used to analyze responses provided by Chinese music majors (N = 880) from various music conservatories and universities. Results indicated that an adjusted six-factor ESEM model was the best fit to the data. Internal consistency reliability coefficients for the subscales ranged from good to excellent (αs =.77–.86). Significant correlations between six subscales of C-SRPB and practice habits (i.e., daily duration, self-rated efficiency, and percentage of time spent on informal practice) provided criterion validity evidence. Overall, the findings suggested that the C-SRPB is a valid and reliable tool for measuring the self-regulated music practice of music majors in China. The results also suggest that music majors' understanding of self-regulated practice vary according to individualistic and collectivist culture contexts. [ABSTRACT FROM AUTHOR]

The Cantonese opera was traditionally transmitted by an apprenticeship approach, which has faded out in the mid-twentieth century. Instead, the conservatory approach adapted from the West has replaced the major mode of nurturing professional artists in China and Hong Kong. This study aims to investigate and examine the current practice of the conservatory approach in nurturing professional artists for the field of Cantonese opera. Two institutions from South China and Hong Kong were the subjects of this case study with observation and interviews as research tools. A cross-case analysis reveals that modern institutions have transformed the transmission mode of the traditional genre. While concentration on formal learning in the conservatory tradition may lead to efficient training, advantages from informal and non-formal learning adopted by the apprenticeship approach are abandoned. An eclectic approach is implied for improvement in nurturing professional artists for the Cantonese opera.

Schooling has been the main approach for transmitting knowledge and skills in both Eastern and Western cultures. The conservatory, for instance, has been the main cradle of great musicians. However, traditional folk arts in the East relied on apprenticeship using an oral approach for transmission. Applying Lave and Wenger's theory of legitimate peripheral participation as a theoretical framework, this article reports an interview study with five Cantonese opera artists in Hong Kong, all of whom have previously served and led apprenticeships. It was evident that the master artists took on limited numbers of apprentices for the purposes of transmitting personal artistry rather than monetary benefit. The master and the apprentice build up a quasi-parental relationship while the apprentice was regarded as a family member of the field. This study supplements the aforementioned theoretical framework with the Chinese cultural element of family ethics which may imply an application of apprenticeship in artistic and non-artistic transmissions through schooling.

China has been instituting national basic education curriculum reforms since 2001. This study provides an updated understanding of present-day, rural primary school music education in Northeastern China's Tonghua region. A total of 126 rural primary music teachers and 674 students from 28 primary schools in the region were surveyed using a questionnaire. In addition, teachers were interviewed about the factors responsible for the current situation. The findings reveal that primary music education in the rural areas of North-east China is suffering from a number of problems including the inadequate provision of resources by local government, teachers' lack of professionalism in terms of music education, and an inadequate understanding of the new curriculum reforms and rationales. The measures recommended to improve the current situation in the region may also provide insights that would prove useful for global consideration.

In the twenty-first century, there has been significant discussion worldwide about students and their learning processes. This study, designing with a student-centred education (SCE) training for three school music teachers over the nine weeks, aims to fill a gap left by the inadequate number of empirical studies examining the implementation of music lessons in China in an SCE era; it also aims to support a global understanding of SCE's pedagogical adaptation to the Chinese context by using a multiple case study conducted in Province X. The findings illustrate that although SCE has been well promoted in China and its adaptation might seem to be characterised by teacher-centred education, there might be within music education an adjusted SCE adaptation with reasonable contextual challenges and difficulties. Thus, in lieu of descriptions of the Chinese adaptation of SCE as a 'failed implementation', this study reveals a more nuanced situation in which SCE is adapted to China's specific cultural and logistical contexts with large classes, in which instruction takes place. [ABSTRACT FROM AUTHOR]

The Hong Kong Government has advocated teaching Cantonese opera in the school music curriculum to promote Chinese culture education. This longitudinal study aims to examine how and why teachers transform within 3 years in learning and teaching Cantonese opera with a teacher-artist partnership approach in schools. Five primary and two secondary teachers collaborated with a Cantonese opera artist to teach the genre for 8 weeks in 2008. With reference to the Transformative Learning Theory, two rounds of interviews with teachers in 2008 and 2011 were carried out to investigate the extent they had transformed in relation to teaching Cantonese opera. Informational learning from the partnership and self reflection in sufficient time are the main attributes in teachers' transformation. It is implied that music teachers may reinterpret their old experience of learning the Chinese music with the assistance of relevant experts in order to make new meaning of their perception on music education.