This paper examines the extent of gender differences, and discusses the role of gender in musical instrument learning. It focuses on the collective instrumental experiences of 1493 Chinese students (774 boys and 719 girls attending grades 7–13) within Western and non-Western musical traditions in Hong Kong. The discussion draws attention to gender differences in the learning of Chinese and Western musical instruments, in musical interest and instrumental learning, and in the reasons why students learn or do not learn musical instruments. The paper argues that, while female and male students exhibit different attitudes towards the types of instruments learnt, significant correlations exist between their interest in music and parental support for their instrumental learning. Gender is brought to the fore by the pedagogical actions of the teacher, the mass media and by parental efforts to reduce gender bias and stereotypes through school, public and family education.
[Copyright of Gender & Education is the property of Routledge. Full article may be available at the publisher's website:
http://dx.doi.org/10.1080/09540250802537596]

Curriculum reform in Hong Kong is one facet of a broad systemic reform variously explained in terms of addressing a changing sovereignty or more recently, of servicing Hong Kong's economic growth. One initiative supporting this curriculum reform entitled Assessment for Learning seeks to promote formative assessment. Three case studies, of teachers within their Hong Kong classrooms seeking to implement formative assessment, serve to highlight a curious contradiction: caring teachers who appear to work against curriculum reform. To explain this contradiction we offer a three-point philosophical framework comprising Confucianism, Daoism and pragmatism, which provides an answer to our central question: curriculum reform in the Hong Kong primary classroom: what gives?
[Copyright of Music Education Research is the property of Routledge. Full article may be available at the publisher's website:
http://dx.doi.org/10.1080/14613800802079122]

The purpose of the author's study was to compare the creative approach with the traditional instructional approach in music education of junior secondary level in Hong Kong. The author hopes that the study could provide some information about the application of the creative approach in local secondary schools.

This study deals with the issue of incorporating values education in music education in Hong Kong's primary and secondary schools. It includes the development of the state's cultural and national identity since its handover from the United Kingdom to the People's Republic of China (PRC). Thirty primary and secondary school music teachers were interviewed in order to understand how notions of "musical values" and "non-musical values" have been addressed in the curriculum. In particular, this study focuses on music teachers' perspectives on teaching world music, traditional Chinese music, the PRC national anthem, and non-musical values. This paper questions the effectiveness of existing curricular and pedagogical attempts to encourage the students' musical experience and extra-musical education. It concludes that values education must have clear conceptions of "values", "musical cultures", and "national identity" in order to maintain unity amidst the intensifying plurality of ethnicities and cultures in Hong Kong.
[Copyright of Asia Pacific Journal of Education is the property of Routledge. Full article may be available at the publisher's website:
http://dx.doi.org/10.1080/02188790600937383]

This paper reports findings from an investigation of the implementation of "assessment for learning" in classroom music instruction in Hong Kong primary schools, focusing on the changes in assessment practice and music teachers' classroom instruction. Qualitative methodology was employed to document the cases of three music teachers. It was found that change in assessment practice in classroom music instruction led to a change in curriculum design which enhanced curricular alignment, as well as change in the mode of instruction which facilitated communication and interaction between teachers and students.
[Copyright of Teacher Development is the property of Routledge. Full article may be available at the publisher's website:
http://dx.doi.org/10.1080/13664530701644599]

Through interviews and observing day-to-day classroom practice, this study explores the beliefs of 10 music teachers in elementary schools in Vancouver and Hong Kong. The results demonstrate that the music teachers of the two localities hold similar cognitive beliefs about the essential elements of music education. However, they hold different beliefs about the value or impact of music education on the psychological or character development of students. Music teachers of Vancouver are found to be more student-centred than their counterparts in Hong Kong, and this is reflected in both the curriculum and activities selected for classroom teaching. Though both groups of teachers place similar emphasis on western music, in Canada more classroom activities are based around the student's personal enjoyment and expression. In Hong Kong, meanwhile, music education is viewed as a means of nurturing the student's temperamental development. While students in Vancouver are allowed to express their personal musical preferences in classroom activities, in Hong Kong students are required to perform according to prescribed standard indicators of success. This is probably linked--albeit invisibly--to Chinese Confucian culture.
[Copyright of Teachers and Teaching: Theory and Practice is the property of Routledge. Full article may be available at the publisher's website:
http://dx.doi.org/10.1080/13450600500137182]