Moral education receives much attention in higher education and teacher education around the world. To nurture university students' (including pre-service teachers') moral values and moral awareness is one of the aims of higher education in Europe, America, mainland China and Hong Kong. However, their perceptions of learning moral education and the accompanying curriculum development are at present under-researched. This paper reports on a study aimed at exploring: (i) what are the university students' (and pre-service teachers') perceptions of the learning of moral and values education?; and (ii) how do they learn moral and values education in a curriculum and pedagogy course? This case study took place in an undergraduate class in Hong Kong. It adopted multiple methods to collect data and the results showed that the experience of values education curriculum planning enhanced the university students' learning of moral education. They learnt moral education through traditional and innovative ways, involving (i) discussion/sharing in moral dilemmas and circle time (as university students), and (ii) the related curriculum planning and teaching (as pre-service teachers). With reference to the study, this paper supplements the understanding of the curriculum development and learning of moral and values education in higher education in Hong Kong.

This session could be seen as the regional discussion of ISME Policy Commission in Asia. One of the missions in this commission is ‘to examine and explore issues concerning cultural, education and media policy development and implementation'. As a result, we have invited present and past commissioners, participants, as well as other researcher from various Asian regions to discuss the issue we have encounters pertaining to culture and policy in music education. In addition, other researchers who are interested in this issue are all welcome to join our discussion and commission. European music's autonomy and hegemony has been believed and taken for granted for at least a century, and this tradition based on Western aesthetics has exerted a great influence on music education in Korea, Taiwan, Hong Kong, Singapore and Japan. However, Asian music traditions differed fundamentally from the music tradition of the West. The European concept of tonality or key functions, for example, was absent from those Asian sound cultures. In this discussion, questions are asked about: 1. Introductions of Euro-American Music into Asian countries. 2. How traditional and folk music in Asia survives. 3. How music educators in Asia should deal with this duplicity. 4. How music educators in Asian develop music education policies for the future. Korea: (Korean traditional music has its name called “gugak,” which literally means ‘national music' but has been relative concept of ‘western music.') Compared to popularity of K-pop music, the number of listeners of gugak has been absurdly small. Music educators suggest that having students experience gugak in school education is the key for traditional music to survive and insist to raise the percentage of covering gugak in statutory curriculum. Although music teachers who are used to western music have difficulty to teach gugak, but the difference between western/ gugak has been the facilitation to broaden the concept of music and enrich the understanding

Music is the integral and core curriculum in early childhood education. It plays a very important role for children's holistic development. In Hong Kong, kindergarten teachers have adopted different approaches in the teaching of music. Among them, Carl Orff approach has been viewed as one of the most popular approaches. According to the Guide to the Pre-primary Curriculum (The Curriculum Development Council, 2006), the appropriate time allocation for half-day and full-day music activities are 45-60 and 60-105 mins respectively; including the physical fitness and arts activities. The aims of this paper are three-fold. Firstly, it examines the changes of the school-based Carl Orff curriculum as compared to that of in 2014. Secondly, it investigates the existing constraints on the curriculum reform in the kindergarten. Thirdly, the practical recommendations on the successful implementation of the school-based Carl Orff curriculum will be discussed. It is a qualitative Case Study with emphasis on collecting qualitative data from class observations, unstructured interviews with the music teacher and principal, unstructured conversation with students, video analysis and curriculum study. The analysis and recommendations will be conducted according to Schwab's (1973) four Commonplaces in Curriculum: Subject Matter, 60 Learner, Teacher, and Milieu. The five existing major constraints have been grouped into: curriculum design, teaching resources; facilities and equipment; professional support; teacher education and development.

進入廿一世紀的新時期，香港人對身份認同相關的議題討論日漸增多，一方面這和香港的主權在一九九七年回歸中國有關，另方面亦反映出在邁向國際文化大都會的過程中，面對日趨多元文化發展的全球一體化環境，港人對自我文化身份問題的關注。最近本地的教育改革將「德育及公民教育」列為四大關鍵項目之一，當中「藝術教育學習領域」配合文化身份和價值觀的議題能夠發揮怎麼樣的功能，將是業界值得探討的課題。本文首先檢視香港的文化環境，分析在殖民地政府管治時期存留於文化政策和藝術教育的問題，繼而指出整體文化與藝術教育環境均欠缺文化定位及在文化認知上存在重西輕中的偏差，最後提出在進一步拓展本地多元的文化空間及方向下，在藝術教育中強化本土與中華文化意識和價值觀的理據及建議。