Teaching Shubailan Folk Singing Through an Online Flipped Classroom

Online music education during the pandemic

When the COVID-19 pandemic forced schools to suspend in-person classes, educators had to quickly design alternative ways to deliver meaningful learning activities for their students. Not every subject could transition smoothly to an online format, especially those that rely on social interaction and creative processes. This study explores how 122 secondary school students in Hong Kong learned Shubailan, a style of Chinese folk talk-singing, using a mobile instrument application called muyu within an online flipped classroom. The program gave students opportunities to study music theory and instruments related to Shubailan and to create their own Shubailan piece over six lessons. To maximize online face-to-face time for collaboration, the researchers flipped the classroom: students prepared through preassigned recorded videos, and then engaged in collaborative activities during live online lessons.

The study employed a mixed research method that included a learning satisfaction survey, teacher observations, and semi‑structured interviews. Results indicated that this approach effectively motivated students to learn music and improved their knowledge of Shubailan. The findings offer evidence for using the online flipped classroom to enhance student satisfaction and knowledge acquisition during music‑making activities, along with recommendations for music educators working online. Out of this work comes a set of innovative pedagogical strategies for teaching music in an online environment during difficult times.

Abstract

In K‑12 schools, class suspensions due to the COVID‑19 pandemic forced a shift to online instruction. Teachers began designing alternative ways for students to carry out meaningful learning activities. Yet some fields, particularly those requiring considerable social interaction and creative processes, were not easily moved online. This study investigates how secondary school students in Hong Kong learned Shubailan — a form of folk talk‑singing — using the muyu mobile instrument application in an online flipped classroom with 122 participants. The program encouraged students to learn music theory and instruments related to Shubailan and to compose their own Shubailan piece across six lessons. To preserve more online face‑to‑face time for collaborative work, the flipped classroom model allowed students to study preassigned recorded videos at home and then participate in collaborative activities during synchronous online lessons.

A mixed‑methods approach was used, incorporating a learning satisfaction survey, teacher observations, and semi‑structured interviews. The strategy was found to effectively motivate students and improve their music knowledge of Shubailan. This paper presents evidence that the online flipped classroom approach can boost student satisfaction and knowledge acquisition throughout the Shubailan music‑making process, and offers suggestions for online music educators. The outcomes provide a set of innovative pedagogical methods for teaching music in an online format during periods of crisis.

Keywords: Online flipped classroom, music mobile service, music learning, musical instrument application, COVID‑19

Introduction

The COVID‑19 pandemic and the social distancing measures it brought disrupted instructional design across many subjects, but music lessons and the teacher‑student relationship were especially affected. Music learning involves a strong sense of social belonging, collaboration, and affiliation (Philippe et al., 2020). Studies on collaborative creative music‑making activities (Nielsen et al., 2018; Sangiorgio, 2015), improvised interaction to form musical friendships (Aucouturier & Canonne, 2017), and high‑level performers in classical orchestras (Biasutti, 2013) have all emphasized the social aspects of music education — collaboration, communication, and companionship. Such activities encourage music learners to share co‑constructed artistic ideas and knowledge, and to perform at both individual and societal levels through rehearsals, recitals, solo performances, competitions, and concerts (Philippe et al., 2020). During the pandemic, these collaborative music‑learning activities became impossible, and educators were forced to design an online alternative.

Technology in music education

Previous research has shown that digital technologies used in blended or online learning — such as wikis, social networking sites, and social media tools — can effectively support collaborative learning across different subjects and grade levels (e.g., Chu et al., 2019; Ng & Chu, 2021; Ng, 2021). However, studies have criticized the lack of research on the effectiveness of online pedagogy for music learning (e.g., Edward et al., 2018; Pike, 2017). There are clear benefits to teaching music in online and computer‑aided environments. Online music learning promotes flexible learning (Biasutti, 2015), opens creative possibilities for studio‑based music production (King & Himonides, 2016), encourages dialogue for collaboration, and facilitates effective acquisition of music knowledge (Adileh, 2012). Yet switching to an online mode also brings significant challenges:

• Latency in web‑conferencing environments due to internet bandwidth limits the smooth flow of live online sessions (Johnson, 2017).
• The interaction between music teachers and students can suffer when expressing and performing music at social events such as rehearsals and orchestral performances (Philippe et al., 2020).
• Motivating students in online learning settings can be difficult, requiring extra effort from educators to redesign their teaching approaches (Bowman, 2014).

After weighing the advantages and disadvantages, we turn next to how educators have adopted evidence‑based online instructional strategies for music. Ho (2007) reported that multimedia technologies — such as interactive presentations, video, and recordings — helped 1,741 students in 15 Shanghai secondary schools learn music by listening, reading scores, hearing instruments, and exploring biographical, cultural, and historical context. Kruse and Veblen (2012) examined 40 YouTube folk/traditional music instructional videos and found that most videos taught instrumental technique (73%), music theory (58%), and melody instruction (58%). The online instructors modeled both correct and incorrect ways of playing the instrument and provided pedagogical advice to help students address potential problems (Kruse & Veblen, 2012). These recorded videos also demonstrated the use of physiological prompts (e.g., hand shape and positioning) and simple tools (music picks, tuning pegs, wooden sticks) to support music learning. This work reveals how teachers can use recorded videos and social media like YouTube to design online music instruction. Johnson (2017) further argued that social‑constructivist activities involving collaborative tasks, community interaction, and digital illustrations such as step‑by‑step demonstrations are necessary to let students imitate teachers and learn music in groups. During the current pandemic, Serdaroglu (2020) described how the London Symphonic Orchestra used YouTube to share expert educational content designed specifically for children, thereby supporting online music education with safe, trustworthy resources.

New technologies have already changed traditional music pedagogy by introducing mobile services and web‑conferencing software (Cho et al., 2019; Sabet, 2019). Earlier studies found that music applications such as Echobo and Garageband can successfully involve secondary school students in blended learning on their mobile devices (e.g., Lee & Freeman, 2013; Väkevä, 2010; Wise, 2016). Bauer (2014) explained that music instrument apps commonly used by young people today — iTunes, Spotify, and others — represent collaborative tools. Hu (2019) discovered that mobile music services such as QQ Music improve music information retrieval and offer users shareable digital libraries, which holds great promise for informal music learning. Pike and Shoemaker (2017) employed digital pianos, internet MIDI software, acoustic pianos, and Skype to teach sight‑reading to primary students in a distance‑learning setting. Both groups — online and face‑to‑face — improved their sight‑reading abilities and developed positive attitudes in terms of enthusiasm, motivation, and confidence. During the lockdown, Johnson and Merrick (2020) used Zoom to creatively support student well‑being, communication, and connection in a socially constructed teacher‑student environment. Thanks to digital affordances, technology can overcome teaching challenges in distance learning by connecting students with teachers and classmates via online platforms, boosting motivation, autonomy, and interest in music (Pike & Shoemaker, 2013; de Bruin, 2021).

Flipping the music classroom

The flipped classroom model has proven effective as a form of blended learning across many disciplines (Zainuddin & Zhang et al., 2019). With the help of learning technologies, students study preassigned digital materials such as recorded videos, readings, and simple tasks on their own. During class, teachers then lead activities that build higher‑order thinking skills (Dong et al., 2019; Jong et al., 2019). Typically, students watch teacher‑made or publisher‑made videos outside of class. This gives them more time during face‑to‑face lessons for interaction rather than passive listening. Flipping the classroom inverts traditional methods: students gain direct music instruction through digital materials via an online platform and then engage in interactive activities during in‑person class time (Zainuddin & Shujahat et al., 2019).

During the outbreak, the flipped classroom took on an online form. Students studied preassigned materials before synchronous online sessions (Stöhr et al., 2020; Tang et al., 2020). Preassigned materials can include recorded lectures, other recordings, readings, and simple tasks. During the live online sessions, teachers guide students through higher‑order thinking activities such as music performance, composition, and problem‑solving, making the environment dynamic and interactive for applying concepts creatively. Because students learn information on their own outside of class, teachers can devote session time to pair and group work and task‑based, interactive higher‑level activities (Jong, 2017). Online face‑to‑face lesson time should complement what students learn from outside materials, giving teachers more room to help with engaging, real‑world applications built on self‑guided tutorials and quizzes (Stöhr et al., 2020). This approach increases class time available for collaborative music‑learning activities.

Invited by a local Hong Kong secondary school, our research team arranged a six‑lesson music program for 122 Secondary 2 (S.2) students. The study created an online folk‑talk‑singing experience called Shubailan (數白欖) — a Chinese style that combines rhythmic storytelling and singing, originally used by beggars to solicit money. Today this music form is recognized for its cultural distinctiveness, singing style, performance aspects, and unique lyrics, particularly regarding rhythm, beat, and sentence patterns. To motivate students and use class time efficiently, the researchers adopted the flipped classroom approach together with a mobile application called muyu (木魚). Students created Shubailan compositions, making the process active and hands‑on during the live lessons. This innovative approach motivated students to study preassigned materials before class and become more involved in producing their own work.

As this is a qualitative study, we do not argue that this form of Shubailan learning can be generalized to all secondary students. Instead, we aim to document the pedagogical decisions made in an online flipped‑classroom context during the pandemic. The following research questions guided the investigation:

1. How do students perceive the lesson preparations and face‑to‑face online sessions throughout the Shubailan learning experience?
2. What are the perceived benefits of the online flipped classroom for music learning when using musical instrument apps?

Methodology

Research design

We used a mixed‑methods case study with three data sources: a learning satisfaction survey, teacher observations, and semi‑structured interviews. This combination allowed a thorough, real‑life description of the case. We recruited 122 Secondary 2 students across four classes at a Hong Kong secondary school to take part in a six‑lesson online Shubailan course that used the flipped‑classroom approach during the COVID‑19 pandemic. None of the students had previously studied Shubailan in music class.

An online flipped‑classroom environment was set up: students watched six recorded videos on Google Classroom in their own time before each music lesson. During six synchronous online lessons, a music teacher (the second author) taught the 122 students to create their Shubailan pieces. The music knowledge covered included Cantonese opera, lyric writing, music accompaniment, and instruments — all drawn from the recorded videos. Students were organized into groups of five, and each group created and performed a Shubailan song. In each lesson, the teacher encouraged cooperative work while students played the muyu. Whole‑class discussions and group performances were held at the end of each lesson so that groups could present their work. Over the six lessons, the teacher also reviewed each group’s progress and members offered feedback. The teacher and two teaching assistants circulated through the online “music room” to interact with students, watch their Shubailan performances, and help address any problems.

The study aimed to find out whether students acquired Shubailan‑making skills effectively in this online flipped classroom using the muyu mobile app. A knowledge test was administered before and after the program. In addition, a learning satisfaction questionnaire using a 5‑point Likert scale was given after the six lessons.

Instructional design

After watching preassigned videos on Google Classroom, the online face‑to‑face activities focused on composing, performing, and appreciating music — helping develop students’ creativity and their ability to appreciate music. Here is a sample lesson flow. First, students listened to a popular rap track by FAMA (a Hong Kong pop‑rap group) and were asked to compare it to Shubailan. The teacher then guided them to mark the zhengban and diban in a selected segment from a video, and they tried to perform it. Other classmates offered feedback on correctness. Next, the teacher divided the class into groups of five. They composed and performed their own piece on the topic “My Favourite Food.” Students had ten minutes to refine their work using what they had learned, and each group had two minutes to perform and present their work (including features like elements of Cantonese opera) through the shared screen in Zoom.

Each work must contain at least four sentences. Every sentence must consist of only three, five, or seven words. Students should present their work using buyu (卜魚) to indicate zhengban and diban (ㄨ and ㄨ).

Regarding the instrument application, we employed a user-friendly mobile app called muyu. This app enabled students to create and perform their own Shubailan pieces (Figure 1). Users first selected a hitting sound in the settings. When a finger touched the muyu on the screen, a sound was produced. After each student’s performance, teachers guided appreciation through questions such as “Does this Shubailan script transition smoothly?” and “Can anyone suggest another rhyming word?” These inquiries encouraged students to co-construct ideas and refine each other’s compositions. Details for lesson preparation and activities are shown in Table 1.

## 5 Results

We present quantitative and qualitative findings from the Shubailan online learning experience during lesson preparation and face-to-face online sessions in an online flipped classroom. After six Shubailan music lessons, all students completed a 5-point Likert scale survey (n = 122). Additionally, thirty participants reviewed video recordings and reflected on their experiences.

### 5.1 Perceptions on lesson preparations

Qualitative results

During lesson preparation, students viewed five instructional videos covering basic Shubailan knowledge. Previous research recommends video lengths of eight to twelve minutes (Abeysekera & Dawson, 2015; Ronchetti, 2010). Therefore, each video lasted about seven minutes on average, allowing students to complete preparation before classes at their own pace. Student feedback on video watching fell into four categories: learning an interesting music topic (n = 16), personal entertainment during leisure time (n = 10), completing teacher assignments (n = 8), and earning better grades (n = 3). Unlike Zainuddin et al. (2019), who found most students disliked pre-recorded lectures due to low motivation, our study revealed students actually enjoyed reviewing videos in the online flipped classroom. Many students noted that recordings on Google Classroom supported self-directed learning. One interviewee explained, “I can watch the recorded video whenever I want and wherever I am. I can use features like fast forward and pause to review any point. It is useful for me since I am not a music guy. This helps me review [concepts] that I need to create my Shubailan pieces.” A teaching assistant reported that students preferred these videos over asking her questions in discussion forums. While online flipping tends to favor highly self-motivated students (Li et al., 2020), participants here actively prepared lessons with preassigned materials. A possible reason is that students sought leisure activities, like exploring Shubailan, to relieve boredom during class suspension, echoing Ng’s (2021) observation that students enjoyed online extracurricular activities (e.g., AI learning) to cope with homeschooling tedium.

Quantitative results

In terms of learning satisfaction, students rated highest the statement that watching preassigned videos gave them better understanding of Shubailan concepts (M = 3.30, SD = 0.85). This indicates satisfaction with information quality, including demonstrations and knowledge delivery. The result aligns with prior research (e.g., Kuo et al., 2012) showing that poor media quality harms engagement (Li et al., 2020). Second, the flipped approach allowed repeated viewing of instrumental videos for self-paced learning (M = 3.21, SD = 0.67). Other studies note that students often forget content, but video access enables review (Li et al., 2020; Ng et al., 2020). This helped students spend time reviewing materials without falling behind (M = 3.19, SD = 0.84). Combining recorded videos with live online sessions produced more positive effects on flexible learning than either mode alone (Giesbers et al., 2014). Finally, this approach supported self-regulating and flexible learning, enabling music creation during suspension.

Table 2. Learning satisfaction of Shubailan online learning in an online flipped classroom approach

| Statements | Mean (n = 122) | |------------|----------------| | I have a more flexible learning mode; I can learn at my own pace since videos are always available online. | 3.16 | | It allows me to review materials without lagging behind. | 3.19 | | I am less frustrated with the music app and making music during online lessons. | 3.16 | | I am interested in exploring Shubailan more deeply during lessons. | 3.18 | | Videos give me better understanding of Shubailan concepts. | 3.30 | | It is more interesting than traditional face-to-face music learning. | 3.13 | | It creates dynamic, engaging, interactive classrooms focused on interaction and music creation. | 3.35 | | I can watch the instrumental videos several times. | 3.21 |

### 5.2 Perceptions on face-to-face online sessions

Student interaction in web-conferencing software

As shown in Table 2, students demonstrated significant improvement in Shubailan knowledge (M = 68.85, SD = 18.38, p < 0.01). Regarding satisfaction, students agreed that the online flipped classroom offered great collaboration opportunities during live sessions (M = 3.35, SD = 0.94). They believed that Zoom-based performance and appreciation using the digital muyu fostered dynamic, interactive environments that enhanced collaborative creation. Eleven interviewees directly noted this as a reason for enjoying music creation during online sessions. One student commented, “Although we [students] cannot meet at school or go to classmates' homes to complete the [Shubailan] project, we still can use Zoom to do our project. Besides verbal chat, Zoom has interesting features like whiteboard, likes, and discussion forums for us to express ourselves during class.” Another student added, “Teachers used interactive whiteboards to teach beats and claps. We can talk and sing with rhythm and play with varied patterns using the mobile app [muyu] via screen sharing.” A different student reflected, “We can discuss in break-out rooms and give 'likes' and 'thumbs' [to classmates]. These features provide digital affordances for continuing music learning online.”

These comments and survey responses align with recent studies on web annotation tools. For example, Tseng and Yeh (2018) showed that secondary school students improved English reading comprehension by highlighting paragraph structures. Ng, Shi, and Ting (2020) explored how visual presentations in geometry apps positively shaped learning outcomes when supported by 3D printing. In music education, teachers can use digital pens, lyrics, and images (e.g., marking rhyming words, selecting clip art), teach notation and composition, and interpret music via drawing (Ng & Ho, 2021; Nolan, 2009).

Table 2. Students’ learning ability in pre-posttest with total score 100 (n = 122)

| Learning ability | Pre-test | Post-test | Paired t test | |-----------------|----------|-----------|----------------| | Mean | 68.85 | 25.74 | 11.85* | | SD | 18.38 | 25.14 | | * p < 0.01

Student interaction with a musical instrument application

During the pandemic, many students lacked home instruments. A music app offered an alternative mode for performing publicly and appreciating peer work through web-conferencing software. One student noted, “Though I don’t have any instruments at home, I can still enjoy playing music through the [muyu] app. My teacher told me [in class] there are other apps like Garageband. Even though they may not match real instruments, it’s understandable—and I still enjoy it!” Another said, “I miss playing instruments and singing with friends in class, but performing in front of a camera with the app is also interesting.” A student without a strong music background reflected, “I don’t know music. But if there are preset patterns or beats in the app’s settings, I can easily create songs [during lessons].”

Combining music apps with the flipped approach provided K–12 students access to various technologies: auto-accompaniment software, digital audio workstations, audio recordings, electronic instruments, notation software, and interactive whiteboards (see Bauer et al., 2012). These emerging technologies created additional learning chances in music education. Prior studies confirm that such apps can enhance collaborative informal learning, engagement, and attitudes in online music classes. For instance, Väkevä (2010) found that informal pedagogy with GarageBand encompassed multiple digital creation modes in face-to-face, informal, and open networked environments. Practicing with recording and rehearsal features let students perform live in online settings or engage with online groups. Similarly, Sabet (2020) studied secondary students using GarageBand for iPad; participants shared their musical pieces actively during lessons. Qualitative analysis revealed that performing, recording, and rehearsing with music technology stimulated creative thinking and helped overcome instructional roadblocks. Jaffurs (2014) noted that the spread of computers, tablets, and smartphones has made apps like GarageBand some of the most widely distributed instruments for informal music learning. Thus, musical instrument apps play a constructive role in online music communities, effectively stimulating student creativity across contexts.

Discussion

Overview of main results

Music educators face challenges including limited resources, low school priority, and insufficient preparation time (Russel-Bowie, 2009). These intensified during the pandemic (e.g., Baratè et al., 2020; Daubney & Fautley, 2020). Students often lacked home instruments and could not perform together. Moreover, music was deprioritized compared to language or science, and teachers had insufficient online resources and time to shift instruction. According to our data analysis, the online flipped classroom approach helped address practical teacher challenges and increased interactive time for higher-order activities—online appreciation, performance, and making—during live sessions. Through student and instructor responses, three aspects of this approach emerged: first, self-regulated videos on a learning management platform enabled flexible preparation, helping students grasp factual knowledge about Shubailan. Second, in-class interactive activities involving collaboration, discussion, and creation engaged students in making pieces. Third, musical instrument apps allowed performance and appreciation, especially for those lacking physical instruments at home.

Flexible lesson preparation

The online flipped approach had students study preassigned materials—like instructional videos—before live sessions, greatly reducing direct teaching time. Lesson preparation allowed flexibility, especially for students without strong music backgrounds, helping them progress at their own pace by replaying recordings. Even some who understood the material watched videos to better prepare. This enabled thorough learning and advance preparation for making Shubailan pieces during lessons. Furthermore, because Google Classroom served as the school’s learning management system, students accessed materials with minimal technical issues. Overall, effective preparation cut direct teaching hours while encouraging interaction and collaboration during live classes, fostering higher-order thinking and creativity—ultimately helping music educators solve practical challenges.

Collaborative online face-to-face learning environment

Online flipped classrooms in music education can greatly reduce didactic, teacher-led activities, such as teaching music theory, history, aural training, and notation (Southcott & Crawford, 2011; Ruokonen & Ruismäki, 2016). In our study, this approach, combined with instrument apps, offered learning opportunities for students to create original Shubailan pieces in groups—even without home instruments.

Technology integration in music education can offer students creative and collaborative opportunities through meaningful music-making activities (Crawford, 2017; Leong, 2012). In this study, web-conferencing features like breakout rooms, annotation tools, and the ability to give “claps” or “likes” provided a virtual stage for students to perform for one another and appreciate their peers’ work using a mobile music application. This relevant, modern online music activity connected the classroom to the wider world—as seen with Shubailan’s use in cultural and marketing contexts—and drew on everyday themes for composition, offering authentic learning experiences. Although this investigation focused on a single musical instrument application, the potential for incorporating other music technologies into education is considerable.

Through the adoption of a flipped classroom model, this case study examined how teachers involved students in Shubailan music creation with a mobile instrument app and addressed practical challenges in music instruction during the COVID-19 pandemic at a Hong Kong secondary school. The approach’s success yields several insights for blended and online learning. First, students feel motivated to leverage flexible lesson preparation and interactive sessions during live online classes. Second, incorporating technology—such as instructional videos, web-conferencing platforms, and musical instrument apps—strongly enhances learner engagement and satisfaction in online settings. Third, these benefits grow when meaningful mobile music services, learning tools, and platforms are systematically integrated. Increased use of real-time collaborative tools should be encouraged to foster student-teacher interactions, even in face-to-face environments. The Shubailan music project allowed students to utilize technology for exploring music composition, culture, history, and instruments, thereby promoting music-making, sharing, and collaboration. Under the emerging norm of teaching and learning, not only music educators but all subject teachers will need to adapt to a shifting paradigm of online or blended instruction.

Conclusion

Although a growing body of research on flipped classrooms has broadly addressed effectiveness in areas like motivation, ability, and higher-order thinking across various disciplines (e.g., Jong, 2019; Zainuddin et al., 2019), few studies have examined how an online flipped classroom approach captures the learning processes involved in music education. During the pandemic, we investigated how this model could support creative music-making using a mobile instrument and web-conferencing software at a Hong Kong secondary school. A key contribution of this work is providing evidence that the online flipped classroom, combined with musical instrument apps, can serve as computer-based support for music learning. This foundation may guide future inquiries into how music learning experiences can be scaffolded with other mobile services and online pedagogies.

Several limitations deserve acknowledgment. First, this case study’s exploratory design, set in an authentic online learning context, lacked a control group for comparing learning outcomes. Second, instructors used a single type of web-conferencing tool and musical instrument app for Shubailan teaching; results could vary depending on instructor characteristics, technological resources, and learning activity design. Additional research is needed to improve the flipped classroom approach’s effectiveness, and future work should explore other useful teaching strategies, tools, and activities for instructional design.

As a theoretical contribution, the online flipped classroom approach with music technology was developed through practice and reflection in an authentic music classroom case. Overall, this study offers an empirical and theoretical foundation for promoting digital technology in music education. Recommendations for music teachers include: - Use computer-aided instruction—such as recorded videos, social media tools, and mobile music services—to foster creativity, imagination, improve music skills, and cultivate critical responses. - Create a set of online curriculum resources collaboratively among educators to smoothly transition music learning to an alternative online mode. - Adopt the online flipped classroom approach to reduce direct instruction and maximize online collaborative opportunities—including performance, appreciation, and music creation—to stimulate students’ higher-order thinking. - Employ musical instrument apps to encourage students to co-construct, rearrange, and create music pieces within an online community, even though these virtual instruments may not fully replicate physical instrument mechanics. - Other mobile music services, such as social media, digital libraries, and editing software, can also be valuable in transforming traditional classrooms into music creation learning environments.

Appendix 1: Music Theory in Shubailan (Chow, 2016) – Four Performance Skills in Cantonese Opera

Cantonese opera actors’ performance skills fall into four categories: Chang, Zuo, Nian, and Da.

1. Chang (唱): Two vocal styles match different character types: Pinghou (ordinary speech tone, typically used by male characters) and Zihou (an octave higher, often with false accents, used by female characters). 2. Zuo (做): Encompasses physical performances like gestures, stepping, walking positions, eye closures, hand movements, body shapes, sleeves, Lingzi Gong, Xu Gong, water hair, abstract performance, and traditional exercise frames. 3. Nian (唸): Involves speaking dialogue (Nianbai) to explain scenes and convey characters’ thoughts and feelings. 4. Da (打): Covers martial arts, such as dancing water sleeves, playing with fans, using martial arts swords and spears, performing with sticks and swings, and waving flags.

Music Score of Cantonese Opera

Cantonese opera uses GongChe, a type of Chinese music notation, to record melodies and tone.

| Symbol | Type | Description | |--------|---------------|-----------------------------------------------------------------------------| | ㄨ | Zhengban | Upbeat—a strong beat appears where there are symbols. | | ㄨ | Diban | A strong beat appears where there are no lyrics. | | 、 | Zhengding | Downbeat—a weak beat appears where there are symbols. | | ∟ | Diding | A weak beat appears where there are no lyrics. |