良好的學校環境能促進兒童健康發展，一個良好的學校「課程政策」卻是設計出良好的學習環境的依據。教師是學習環境的設計及推行者，現行學校所推行的課程政策雖有關注兒童的健康發展，但較為缺乏對促進教師健康的考慮，然而，教師能通過推行綜合的音樂-體能-創意活動能產生「暢態」的感受，這種「暢態」感受是提升教師健康的根源，可推動教師不斷進步發展，達成學校、兒童及教師的三贏局面。本文目的是以音樂-肢體課程為例，喚起業界對教師「暢態」感受的關注，內容包括：一、香港幼稚園現時對教師健康關注情況；二、以音樂肢體課程顯示出教師「暢態」感受與其心理健康的關係；及三、健康教師對學校的啟示。
[Copyright © 2012 The Hong Kong Institute of Education.]

Integrated curriculum mainly covers three Key Learning Areas (“Personal, Social & Humanities Education”, “Science Education” and “Technology Education”) in Hong Kong primary schools. Six primary schools were involved in a curriculum project which aimed to promote the development and implementation of integrated curriculum. Six sets of integrated curriculum with different themes from primary one to primary six were developed and implemented in the schools; and the contents of individual themes included the rationale of curriculum development, curriculum concept map, and scheme of teaching. The purpose of implementing the integrated curriculum was to provide feasible approaches to humanities- science-technology education, which other school curriculum leaders may apply, with reference to the school-based considerations, in their schools. It is anticipated that individual curriculum leaders can, after implementation, obtain valuable experiences of nurturing students for “learning to learn” and “whole person development” by means of humanitiesscience- technology education. As a consequence, six curriculum leaders from the six primary schools were invited to share their experiences of implementation; and the comments provided are discussed and analyzed according to the following focuses: 1) rationale and characteristic of curriculum design, 2) achievement of and challenge to curriculum implementation, 3) review of the integrated curriculum.
[Copyright © 2008 Common Ground, Wai Lun Anthony Leung.]

Mentoring has long been recognized as an effective approach in the professional development of teachers since it combines career advancement and psychosocial development (Kram, 1988). While a body of mentoring research in music education focusing on professional development exists (Benson, 2008; Conway, 2008; Haack, 2006), there is little evidence that the benefits arising from the process have been recognized or acted upon at the governmental level. Through the collection and analysis of quantitative and qualitative pre-, present- and post-case study data from a three-year school-based mentoring program in Hong Kong, this paper examines how the effective delivery of the music curriculum in early childhood education can be enhanced by the implementation of mentoring in helping to ensure the long-term professional development of its participants. The findings indicate the inadequate amount of training and preparation for kindergarten teachers in Hong Kong to adequately deliver a multifaceted music curriculum, and the mentor could fulfill the role of a music specialist. As a reference source for those considering the implementation of similar programs within their kindergarten settings, the findings can have applications across different subject areas, providing a practical perspective on the implications for sustained delivery as it pertains to novice and veteran teachers alike. To this end, a number of considerations as they relate to the research objectives – along with practical recommendations for the various stakeholders involved within early childhood education – are also discussed.
[Copyright © 2010 HKIEd APFSLT.]

There have been many claims about the benefits that the use of technology can bring to music learning. In fact, examples of successful applications and high levels of motivation associated with computer-based music learning reported in the literature have evidentially substantiated both the feasibility and adaptability of technology applications to music education. This paper describes the experience of Information and Computer Technology (ICT) integration in primary school music education in countries where both pioneering and relatively advanced developments have taken place. A comprehensive study of related literature and curriculum documents has been undertaken, aspects including major software programs development for music education and its pedagogical orientation, hardware configuration and classroom organization, applications of ICT in music teaching and learning, requirements for curriculum, hardware and software, and technology competency requirements and related professional development for music teachers are studied. Findings from the literature reviewed and documents analyzed reveal that ICT can best support constructivist approach to music learning, particularly activities of creative nature such as composing, improvising and creative music making; in addition, resource and related circumstantial factor as well as music teacher‘s readiness were found to be the most influential factors of successful ICT integration. Coupled with these findings, conclusion and implications for ICT integration in primary music curriculum in Hong Kong are then drawn and discussed.
[Copyright © 2010 HKIEd APFSLT.]

This paper examines the field of art education for young children in Hong Kong with a focus on the curriculum policy. A number of researchers have found that effects of cultures on the conceptions and understanding of art education for young children and its values are significant in their process of formation (e.g., Duncum, 2000, 2002; Freedman, 2000; Gardner, 2004; Green, 2000; Piscitelli, 1999; Piscitelli, Renshaw, Dunn & Hawke, 2004; Schirrmacher, 2001; Wright, 1991, 1997, 2003). This paper has applied the framework of the three orientations from Efland (1990), i.e. expressionism, reconstructionism and scientific rationalism in the analysis of Hong Kong curriculum policy documents and found that contradictions in terms of principles and practices are embedded. It is argued that these hidden but value-loaded assumptions about theories and practices in early childhood education and art education should be made explicit both in the formation of the policies and their implementation in schools if success is expected.
[Copyright © 2009 HKIEd APFSLT.]

Choral singing in Hong Kong schools has been developing for over four decades. Nowadays most of the schools own their choirs for performances and competitions. However, the teaching methods of choral conducting in Hong Kong are in lack of formal research and documentation. Many music teachers tend to work on their own without seeking for improvement through research, workshops, seminars and conferences at a large extent. Meanwhile, applying kinesthetic movement and gesture (KMG) has been advocated in other overseas countries for a period of time and significant teaching effectiveness has been noticed. After reviewing the relevant literature as a background, this study therefore aims at investigating the present situation of applying KMG in Hong Kong schools by a questionnaire survey. In addition, three semi-structured interviews were conducted to seek the opinions and personal experiences of three pioneer music teachers who have been applying KMG for 10 to 24 years. Findings from the questionnaire survey reveal that those music teachers who apply KMG in their choral teaching admitted that they found KMG very effective in various ways such as relaxation while singing. Furthermore, the three interviewees have provided a number of concrete examples of applying KMG in teaching children to understand musical elements, and developing their vocal skills and choral skills. These findings provide implications on how music teachers should teach in their choral activities.

The fast growth of digital technology, transportation system, and wireless communication networks in recent years has dramatically increased the contact of people from different countries and regions. Accompanying this is the need to have better understanding of different cultures to attain harmony among all walks of life for a concerted effort to develop the earth. As an important part of culture, music facilitates the multi-faceted understanding and knowledge of countries and regions. Western classics, which have long taken an important portion of the music curriculum, gradually got more companies from local traditional music and popular music as can be seen from the music curriculum of many places. Excluding these, to what extent music from other parts of the world is included in the music, educational, and cultural policies of china is worth investigation. This paper will focus on cultural inclusivity in the music curriculum of primary and secondary schools in Hong Kong and Nanjing. Curriculum documents for various stages of learning from lower primary through senior high school levels would be investigated and compared. It will see how much cultural understanding may be brought about by the music curriculum. The depth and breadth of this cultural understanding would be analyzed and the transparency of purpose checked. There would be a review of the literature in an attempt to establish the basis for analysis of the curriculum documents. The inclusion of music from different parts of the world appears to be covered in relation to the domains of appreciation, performing, and creating, as well as cultural specific areas such as aesthetic sense, philosophical aspirations, and functionalities (context of the music). Implications for music education, teacher education, and policy-making regarding cultural inclusiveness would be deliberated to inform concerned music educators.