This presentation describes a project to examine the potential value of diversifying music notation systems across the UK and China music education. Specifically, the research focus is on whether gongche notation could potentially play an important role in contemporary guzheng teaching and its possible contribution to decolonization in music education. It examines whether (re)integrating traditional Chinese musical practices into modern music classrooms can enhance guzheng pedagogy and contribute to the broader project of decolonizing music education. By (re)introducing gongche, an ancient notation system that far predated colonial influence, the study considers how such practices might challenge Western-centric paradigms and enrich culturally responsive teaching methods.This study does not presuppose the superiority of any single notation system but rather seeks to objectively examine the strengths, limitations, and educational implications of differing notation systems: gongche notation alongside established methods such as Western five-line staff notation and simplified numerical notation are considered. It adopts a mixed-methods approach to investigate these issues, drawing primarily on semi-structured interviews and participant observation informed by grounded theory, experimental teaching sessions using gongche notation, the Kodály method, and literature analysis. Upon completion, the study aims to situate participants’ experiences, reflections, and attitudes within broader theoretical discussions on the political debates on cultural identity and decolonization in music education.The historical marginalization of gongche notation began with the influx of Western musical influence during China’s semi-colonial period in the 19th century and deepened with the modernization and Westernization of Chinese music education during the early Republic era in the 20th century. By experimentally and interpretively (re)introducing gongche notation into contemporary guzheng teaching, the project seeks to examine its potential to enrich pedagogical practices and contribute to the broader project of decolonizing music education in both the UK and China.A key innovation involves gamifying the learning process through Kodály-inspired tools. For instance, an interactive symbol-matching game prompts users to pair Gongche symbols with corresponding pitches or rhythms, resembling a puzzle interface. Correct matches trigger guzheng audio playback, enhancing auditory-visual integration and musical intuition. The game features modes like practice for skill-building and competitive for engagement, adaptable to varied learner levels.This research forms part of a broader inquiry into notation suitability for 21st-century guzheng teaching. Preliminary interview insights reveal cognitive discomfort with multiple systems, highlighting the need for user-centred adaptations. Through gamification, the project addresses questions of notations' compatibility: which system proves most intuitive in game-based contexts?