Although music learners’ metacognition could regulate and improve their practice and performance, respectively, metacognitive measurement tools for music domains remain scarce. Hence, this study aimed to develop and validate a Metacognitive Questionnaire for Music Learning (MQML). Through item analysis, exploratory factor analysis (EFA), and confirmatory factor analysis (CFA), two rounds of research were conducted on 513 valid questionnaires to analyze the item discrimination, reliability, and validity of the questionnaire. This study developed a questionnaire consisting of two subscales, eight factors, and 35 items. The MQML was explored and validated with a Cronbach’s alpha value of 0.960 for the overall scale, subscale Cronbach’s alpha values were 0.914 and 0.947. An eight-factor metacognitive structural model was validated for the first time in the music field. Essentially, MQML could provide empirical data for music students’ metacognition strategies and expand the current body of literature on music cognition.

In an era where teachers are increasingly expected to perform at their level best, issues of self-efficacy and professional development continue to be an area of continuous debate. A random sample of primary and secondary school teachers in five cities in mainland China was selected to respond to the self-evaluation questionnaire, and 300 valid questionnaires were collected. The research was carried out to (1) investigate the levels of self-efficacy of music teachers in primary and secondary schools, (2) determine the factors that influenced music teachers' self-efficacy, and (3) explore the relationship between teachers’ self-efficacy and professional development. The data were analysed using descriptive statistics, T-test, analysis of variance, and regression. First, the results showed that the mean value of music teachers’ self-efficacy was 7.16. Second, the middle school teachers reported lower self-efficacy compared to teachers in the primary schools. Third, although teachers aged between 20 to 50 years old reached their highest level of self-efficacy, it decreased to a lower value after an extended period. Additionally, the study also revealed a significant difference in self-efficacy among teachers with different teaching experiences. Although educational backgrounds, gender, and training hours did not influence self-efficacy, a positive correlation was reported between self-efficacy and professional development. Prospective research might better consider developing music teachers’ self-efficacy and education across primary and secondary schools.

This article presents a performative reflection of the archaeological discoveries from Kedah Tua's early civilisation envisioned through the site-specific theatrical project entitled "Bermulanya Di Sini…Kedah Tua". Different elements from archaeological excavations were selected and adapted into a performance project by way of the curation of theatrical movements. The interpretation of the archaeological findings is translated using specific elements from the study of performing arts such as movement, space, and time to help simplify the dissemination of an otherwise complex knowledge of historical data. The movements choreographed for the different dance scenes and overall performance are based on the archaeological findings of metal, monuments, and an industrialised civilisation. Recent interest in performing arts as a reflection of the archaeological discoveries can be seen as an attempt to broaden the scope of archaeology as a discipline to encompass the totality of the human experience. This collaborative work between the field of archaeology and performance presents choreographers with interesting approaches in exploring notions concerning the performing arts.

A roundtable session on the topic of "Negotiating the Borders of the

On 27 October 2015, Panggung Pelenggam Cahaya in the School of the Arts, Universiti Sains Malaysia (USM) resonated with a vibrant and energetic cross-genre string quartet performance. An alluring array of sounds filled the hall as four musicians from New York City dazzled the audience for two hours with their new age avant garde music. The quartet comprising of Fung Chern Hwei (1st violin), Gregor Huebner (violin), Ron Lawrence (viola) and Jeremy Harman (cello) challenged our conventional ideas of what a string quartet is, and what it is capable of. As session musicians, members of the quartet have performed alongside highly acclaimed artists like Lady Gaga, Sting, Metallica,