PurposeThe purpose of this paper is to discuss nationalistic education in Hong Kong from a cultural perspective. It highlights the challenges faced by the Hong Kong Government and the growing antagonism and mistrust between the young generation and the government. The paper reviews the cultural policies adopted by the Western Zhou, Han and Tang dynasties in ancient China.Design/methodology/approachThis paper adopts a historical approach by reviewing the policies in music and culture in the Chinese history and argues for the adoption of a soft approach to nationalistic education in Hong Kong.FindingsResults show that being inclusive toward diverse cultures, trusting and valuing people's voices and accepting differences of opinion are effective policies that were adopted by the respective dynasties. The results shed light on the possibility of nurturing nationalism through education in music and culture.Research limitations/implicationsThe historical examples mentioned in this paper are only selected periods of the Chinese history. Thus, the survey could not be taken as a comprehensive review.Practical implicationsThis paper reviews the policies concerning music and culture in ancient China and argues for transferring the soft approach of predecessors toward these subjects as part of the nationalistic education of Hong Kong.Social implicationsThe results shown should be considered seriously by the Hong Kong Government as an effective substitute policy for the past stringent approach of implementing national education in Hong Kong. Nationalistic education focusing on music and culture is a common root for all Chinese and should be used in future to build up trust and common values between China and Hong Kong.Originality/valueThe originality of this research lies in its dealing with nationalism and national education, recommending a soft approach to education viewed through the prisms of music and culture.
[Copyright of Asian Education and Development Studies is the

為編製一冊以歷史人物為題材的讀本，供非華語讀者閱讀，製作團隊遇到巨大挑戰。本文報告部分製作經驗，並通過語料分析的檢測結果，探討有關中文二語閱讀材料的遣詞用字問題及其教學啟示。檢測發現：（1）一些表達政治、軍事、倫理和道德概念等的慣常用語，並不容易改寫或詮釋；（2）製作初期恐怕會太深太難的詞語，不少都在香港小學學生學習的字詞範圍之內；（3）漢字數量繁多，有些字形看起來大同小異，加上不同電腦字體的筆畫變異，可能困擾非華語學習者，值得正視。
[Copyright © 2017 中華書局(香港)有限公司.]

綜合課程是香港幼稚園的主流模式，但音樂及其他藝術科目的學習卻未被有效的綜合與融入現有課程之中。本文以藝術範疇中的「音樂」科目作為核心，以綜合藝術中的音樂活動為例，詳細介紹在幼稚園運用「視覺組織圖表」(graphic organizers) 進行綜合藝術課程的理論與方法。透過「視覺組織圖表」及相關教學範例的展示，與教師分享如何以趣味的音樂活動來推動幼兒的綜合藝術學習，從而促進本港幼稚園實施有效的綜合藝術課程，確保兒童全面和充分的發展。
[Copyright © 2013 The Hong Kong Institute of Education.]

This study attempts to explore the implementation of the New Senior Secondary (NSS) music curriculum and senior secondary school music teachers’ perceptions towards the NSS music curriculum in developing students’ creativity. In Hong Kong education reform, the necessity of developing students’ creativity was emphasized and “developing students’ creativity” was addressed as one of the four learning targets of music education. As the last step of Hong Kong education reform, senior secondary curriculum reform has been implemented in 2009. Compared with the previous senior secondary music curriculum, the NSS music curriculum contains more diversified teaching contents and assessment methods. Besides, since senior secondary students who select music as one of their elective subjects have to participate in a public examination, and the results directly related to whether they can be accepted by universities, senior secondary music teachers who are undertaking to teach the NSS music lessons are under a pressure of assisting students to get a positive result in the public examination. Under this circumstance, to what extent the learning target “developing students’ creativity” can be achieved through undertaking the NSS music should be further studied. In this study, seven in-service senior secondary music teachers were invited to share their arrangements of offering the NSS music and their perceptions towards the NSS music curriculum in developing students’ creativity. Since “Creating” was stated as the most effective module in developing students’ creativity in the NSS music curriculum guide, music teachers’ teaching practice for teaching the “Creating” part was asked particularly. Findings indicate that 1) the NSS music was only offered by a few of senior secondary schools; 2) most of the interviewees displayed a positive attitude towards the importance of creativity; and 3) most of the interviewees considered that students’ creativity cannot be significantly developed through

This study investigates how a class of university music students who engaged in a 'lived' experience of informal learning adopted methods and strategies to complete a self-learning 'aural copying' performance assignment in a musicianship class in Hong Kong. Data were collected from observations of the performances and the students' written reflections. The findings showed that they used the methods of intensive listening, using technology, and collaborative learning, as well as the strategies of putting their knowledge of music theory into practice, substitution of instruments, and learning a new instrument in order to emulate the sounds of various instruments. They found this an interesting task that gave them opportunities to improve their musicianship, and they became more sensitive to different voice parts.
[Copyright © Cambridge University Press 2017 ]

香港實行的中學新學制及西九文化區的建設為高等教育的課程重組、師資培訓、與社區接軌等方面帶來了契機，香港教育學院文化與創意藝術學系的課程設置也做了相應的調整。本文指出連貫的課程設置與培養有創意及有想象力的下一代是教改的關鍵，並從四個方面論述了課程重組與實施的策略：本科知識與教學法緊扣；正規課程與聯課活動(co-curricular activities) 聯系；開辦相關的音樂教育與文化藝術課程；課程善用社區資源。

在香港，要成為註冊教師，除了獲得教育學位外，還必須過學校體驗與實習的過程。本文介紹了學校體驗與實習需完成的課程，學校體驗與實習前後的準備，實習的內容以及評估的方法。

This paper reports on a hermeneutic phenomenological study on the experiences of visual arts teachers teaching students with intellectual disabilities in Hong Kong. Themes which emerged from the interviews were examined in conjunction with the lived experiences of the teachers. Special school visual arts teachers who participated in this study have strong emotional and personal connections with their students. The teachers had experienced difficulties when teaching their students and many of the problems were unique to the special school settings. In an effort to tackle these problems and improve their teaching, these teachers engaged in reflection and explored a variety of ways to enhance their students' learning. In spite of the practical learning problems their students face, the teachers maintained that studying visual arts is beneficial to their students 'whole-person development. The paper concludes with a critical reflection on the nature of teaching visual arts to students with intellectual disabilities.
[Copyright © 2015 Australian Association of Special Education Inc.]

Music listening occupies a central part of music studies at all levels of education. However, according to the relevant research, teachers have been emphasizing students’ cognitive responses with limited connection to the affective domain during. Undergraduate music majors have little interest in those teaching materials chosen by their teachers. This study is based on motivation theory, which emphasizes cognitive and affective responses during the learning process as well as requiring teachers to understand students’ behaviors, thoughts and feelings. The aim of this study is to investigate and explore teachers’ beliefs and pedagogies toward students’ affective responses during music listening in higher education under the context of mainland China and Hong Kong. The following two research questions guide the whole study: a) what are university music teachers’ beliefs and pedagogies toward affective response during music listening and learning in higher education? (b) How do their teaching pedagogy represent their belief? This study uses a mixed-method approach and includes two phases. Phase I aims to investigate the current situation regarding teachers’ belief and pedagogy towards affective responses while listening and learning to music. A questionnaire surveyed the views of 185 university music teachers recruited from 17 universities in mainland China, together with ten university music teachers from two universities in Hong Kong. From the questionnaire survey findings, three major issues were identified by teachers and considered critical to informing their beliefs and pedagogies when teaching music: (1) the correlation between teachers’ beliefs and pedagogy, (2) perspectives and pedagogic strategies toward affective response in music listening and learning, and (3) the factors influence teachers’ beliefs and pedagogies. Phase II aims to explore what the teachers’ actually teaching and the influences upon teachers’ belief and pedagogy towards affective responses