To read and write Chinese require an ability to recognise more than 1,000 basic graphic units. Very few studies have looked into the perceptual learning process of these graphic units at the initial stage when young children are being introduced to the script. Two tasks were developed to tap children‘s understanding of graphic properties of written Chinese. In the name writing task, we investigated whether preschool children, aged 3-5, (1) would differentiate drawing from writing, (2) used a correspondence between character and syllable in their writing, (3) used multiple units within one character or across characters, and (4) respected some of the supra-segmented properties of written Chinese. In the graphic acceptability task, we examined if 5-9 years old children could make orthographic judgements based on positioning and graphic properties of the stroke-patterns. Our results indicated that preschool children could already demonstrate some knowledge of the properties of graphic units in Chinese by using strokes or made-up stroke-patterns in their name writing. Five and six-year-olds rejected words with illegal graphic features and seven- and eight-years-olds distinguished nonwords from pseudowords based on illegal position of stroke-patterns. We conclude that Chinese children implicitly learn graphic properties of the writing System which arc crucial in the learning process, the possibility to shift perceptual learning of graphic properties of written Chinese from implicit learning to explicit teaching deserves further investigation. The aim of this chapter is to analyze children’s developing knowledge of the graphic units that arc related to speech units in Chinese and the difference between what children arc explicitly taught and what they learn implicitly about these graphic units. The term ‘implicit‘ is used here to indicate that both Chinese children and adults are usually unaware of those formal characteristics of their script that are analyzed in this paper

In many parts of the world, dance and arts education are now recognized as school subjects. In fact, primary and secondary physical education curricula in Hong Kong include dance education. Furthermore, education reform urges teacher education programs to promote innovative teaching approaches which will enhance lifelong learning skills. Despite the wishes of Education Reform, traditional teacher-centered pedagogy continues to dominate dance education teacher preparation. A radical change must be initiated in order to redress this philosophical dilemma. The purpose of this research was to investigate a teacher education model that would implement the shift from teacher-centered to student-centered pedagogy, thus from replication learning to learning by critical thinking. This presentation highlights critical thinking theory (Ennis, 1991) as an alternative teacher education perspective and how it can be utilized to promote higher-order thinking skills in dance education. The model includes three components: content (what is taught), method (how it is taught), and outcome (what is learned). The proposed dance education content emphasizes the three essential arts appreciation elements of performance, choreography, and assessment. The method stresses a dynamic learning environment which capitalizes on critical thinking via creative and collaborative problem-solving learning tasks. It is argued that the model's content and method result in the learning of not only motor skills, but also higher-order thinking strategies that will be used across the life span. In addition to revalidating dance education, this dynamic model offers future teachers a tool to provide all learners with meaningful lifelong holistic experiences. Finally, three recommendations are made for teacher training institutions to successfully apply the dynamic teacher education model to foster higher-order thinking skills in dance education.

Choral singing has become one of the major cultural and artistic activities in Hong Kong primary schools. It is also the extension of the classroom singing experience and served as a platform for students to nurture their singing skills, enhancing musicianship and facilitating artistic experience through choral performance. In view of the tight rehearsal arrangement, conductors are required to manage the rehearsal efficiently and effectively. In order to achieve the musical tasks and objectives being put forward within each choral rehearsal, the teaching and learning effectiveness are crucial within the process. The current paper looks at four elite choirs and their conductors focusing on their conducting and rehearsal behaviors in relation to successful and effective rehearsal performance. Besides, this study also investigates the modes of communication utilized by the choral directors within the rehearsal structure, including conductor’s task presentation, ensemble interaction and conductor’s feedback. The unique contribution of this paper to music education research is that it takes both the experimenter’s perceptions, those of the conductors and the choristers into account and triangulates these data in a detailed analysis. Certainly, such investigation could contribute valuable information on the teaching and learning effectiveness within the choral performance preparation process.
[Copyright © 2003 The Hong Kong Institute of Education.]

The aims of the recent arts education reform is to build on the strengths of existing practices, to allow greater autonomy for schools to fully develop their school-based arts curriculum and to provide space for more new art forms for students to pursue their preferences in the arts. This paper investigates the effects of the ‘Arts-in-Education’ project (2001-2002), piloted in two secondary schools in Hong Kong, on the school curriculum and student learning. Results of the case study where the artist worked collaboratively with the schoolteachers during formal and informal hours on a musical production revealed that special timetabling arrangements could greatly facilitate a successful model. Other factors contributing to effective student learning included the commitment and dedication of the artist, a strong artist/school partnership, common goals, sufficient funding and full support from the school management and parents. Qualitative data, collected from lesson observation, interviews, focus group meeting and project documents had revealed successful ingredients for the across-the-arts and the interdisciplinary approaches, while pressing issues also emerged, to which educators need to pay special attention when responding to arts education reform.
[Copyright © 2003 The Hong Kong Institute of Education.]

This paper attempts to draw connections between physical education and sports science with the application to teaching of physical education, sports and physical activities in schools in particular. Discussions and illustrations of relevant issues are provided with respect to: (a) historical perspective of the development, progress and linkage of physical education and sports science with reference to definitions, goals and objectives, and body of knowledge, (b) application and integration of sports science disciplines such as exercise physiology, sports nutrition, sports psychology and sports biomechanics in relation to physical education, and (c) the new state-of-the-art Human Performance Laboratory, Department of Physical Education and Sports Science, the Hong Kong Institute of Education - an attempt to bridge the gap.
[Copyright © 2001 The Hong Kong Institute of Education.]

Current issue of education reform advocated by the Hong Kong Special Administrative Region Government has induced numerous discussions within the education sector and the community at large. Music, being one of the long established cultural subjects in the secondary school curriculum, is also under rigorous discussion. The purpose of this chapter is to have an investigation of the past two music syllabi for junior secondary schools (published in 1975 and 1983) in order to collect and analyze data for support of reform. Changes and differences between the two syllabi are analyzed in order to have an understanding of the development of the trend of thinking of the colonial government in the pre-1997 era, of which concerns music education in Hong Kong. In order to have a reference point for the review of the two syllabi, curricula of the three frontier countries, including England, Australia, and the United States, are being examined. Common criteria and standard of these three curricula are summed up and used as guidelines to investigate the two Hong Kong music syllabi. Implications for future reform of the current music syllabus are discussed for the better future of the teaching content and standard of achievement in music in junior secondary schools in Hong Kong.
[Copyright © 2000 The Hong Kong Institute of Education.]

Many music teachers in Hong Kong secondary schools have ignored creative music making. In order to encourage creativity and imagination in music education, the Hong Kong Education Department is undertaking an education reform in which creative music making is advocated. However, recent studies reveal that many music teachers do not have relevant and sufficient training in these activities. This paper reports a study of designing and implementing a new teacher education module, which aims to equip in-service music teachers to undertake creative activities in school teaching. Results indicated that the trainees preferred learning more existing teaching packages to learning theories in creativity. Owing to the poor discipline and other contextual constraints, some of the trainees expressed a negative attitude towards creative activities. However, the lack of discipline-based knowledge and composition skills of the trainees was one of the major reasons leading to the negative attitude. These results imply that theory and practice should be closely related when preparing teachers to understand why and how creative projects should be delivered, with a number of teaching strategies derived from the study. The discipline-based knowledge should be more emphasized, which should be well integrated with pedagogical skills in teacher education programmes.
[Copyright © 2004 International Society for Music Education.]