Aim/Purpose: By integrating a motivational perspective into the Technology Acceptance Model, the goal of this study is to empirically test the causal relationship of intrinsic motivational factors on students’ behavioral intention to use (BIU) a mobile application for learning. Background: Although the Technology Acceptance Model is a significant model, it largely remains incomplete as it does not take into consideration the motivation factors and/or outside influences in the adoption of new technology. Methodology: A Mobile Application Motivation Instrument (MAMI) was developed from a comprehensive review of literature on intrinsic motivation and verified using a formalized card sorting procedure. Four intrinsic motivation scales were developed: perceived competence (COM), perceived challenge (CHA), perceived choice (CHO), and perceived interest (INT). Consequently, a scale to assess students’ behavioral intention (BIU) to use mobile applications was developed using existing scales from prior TAM instruments. Contribution: Incorporating the motivational factors into TAM may provide better explanation and prediction of student acceptance and usage of mobile applications. A potential contribution of this study is the development of a reliable and valid instrument that could be further used by a growing community of researchers, instructional designers, and instructors. Findings: Data were collected from 193 participants to test the causal relationship of perceived competence (COM), perceived challenge (CHA), perceived choice (CHO), and perceived interest (INT) on students’ behavioral intention to use (BIU) a mobile application, using a structural equation modeling approach. The structural path model indicated that perceived competence (COM), perceived challenge (CHA), perceived choice (CHO), and perceived interest (INT) had a significant influence on students’ behavioral intention to use (BIU) a mobile application for learning. Implications of this study are important for researchers and educational practitioners. Future Research: One environmental dimension, understudied but with likely implications for intrinsic motivation, is the social environment.

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Although the hybridisation of Western and Chinese musics has been progressing for over a century, many early attempts tended to treat Chinese material in a rather superficial manner. This resulted in mere ‘Orientalist’ Western pieces and rather bland pentatonic/romantic ‘Chinese’ music that simply harmonised the basic outline of popular Chinese melodies with Western chord progressions. The use of recent technologies has greatly accelerated the pace and depth of this hybridisation and solved many of its artistic problems. Technological advances now make it possible and practical to incorporate the subtle but essential elements of traditional Chinese music, and of course other world musics, in works that seem satisfying for Western and non-Western audiences. This paper presents a brief historical overview of the hybridisation of Western and Chinese musical traditions, examines common pitfalls of many early attempts, and reviews how these issues are addressed compositionally and technically in the author's recent electroacoustic pieces, Li Jiang Etudes No. 1, 2 & 3.

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With a little effort, it is possible to simultaneously introduce students to improvisation and techniques for playing modern music. I S Most music educators recognize breadth of repertoire and creativity in performance as part of a well-rounded music education. It has been stated that exposing students to twentieth-century music and to the practice of improvisation are valuable methods for achieving these goals. However, problems can be encountered along the way. Most pieces that make full use twentiethcentury sounds and techniques can be difficult to perform, even for professionals, and teachers may shy away from offering modern music and improvisation in the music classroom. Finding appropriate modern repertoire for a group of students of a particular playing ability and for a specific instrumentation can be extremely challenging. In teaching improvisation, overcoming students' initial anxiety and helping them develop enough continuity and audiation (musical awareness)1 to shape the music into a final convincing product are challenging tasks. Finally, teaching improvisation to older students who may have little or no background in it and