面對不斷改變的知識型社會，培養創意在新世代已成為重要的教育方向，而學校課程亦同樣面對培養創意的挑戰。創意音樂活動在歐美等先進國家已發展了超過三十年，但是亞洲地區尚在萌芽階段。一般亞洲地區的音樂教學(如香港)普遍重視音樂知識傳授和訓練技巧而忽略創意音樂活動及創造力的培養。本文旨在回顧先進國家的音樂課程發展及相關文獻，並提出一個施行創意音樂教學模式，期望改善音樂教學的素質。

香港的美術教育，一向備受忽視。要推行成功的美術教育，校長、教師、學生與社會人士們認同美術教育是全人教育重要部份的理念最為重要。一九九九年，本研究小組訪問了香港三間中學與三間小學，他們在香港推動美術教育不遺餘力，多年來建立了學生學習的優良表現，不論是在態度上、信念上、創作成果上，都有不錯的成績。研究小組嘗試從訪問校長、教師與學生中、從課堂的觀課中、從學校的環境與氣氛中，了解他們在推動美術教育上的困難，從而尋找出一些可行的方法，努力地嘗試走出一條成功的道路。相信這次的研究結果，可以給與其他學校一些啟示，並作為借鏡。

In Hong Kong, inclusive education is concerned with educating all students, including those who are categorised as having special educational needs (SEN). This qualitative study reports three challenges faced by primary schools music teachers required to implement inclusive education. The first two challenges echo those reported internationally ? the lack of subject-specific pre- and in-service SEN training and insufficient school-based SEN support for music teachers. The third challenge is the key role of a societal mindset that, by valuing SEN interventions against other educational values, justifies discriminatory training and resourcing. It is against this mindset that these teachers argue and that explains why inclusive education in Hong Kong's primary music classrooms becomes a pathway for both SEN students and their teachers to learned helplessness.; In Hong Kong, inclusive education is concerned with educating all students, including those who are categorised as having special educational needs (SEN). This qualitative study reports three challenges faced by primary schools music teachers required to implement inclusive education. The first two challenges echo those reported internationally ? the lack of subject-specific pre- and in-service SEN training and insufficient school-based SEN support for music teachers. The third challenge is the key role of a societal mindset that, by valuing SEN interventions against other educational values, justifies discriminatory training and resourcing. It is against this mindset that these teachers argue and that explains why inclusive education in Hong Kong's primary music classrooms becomes a pathway for both SEN students and their teachers to learned helplessness.
[Copyright of International Journal of Inclusive Education is the property of Routledge. Full article may be available at the publisher's website:
http://dx.doi.org/10.1080/13603116.2015.1019374]

Choral singing is a key feature of musical activity in Hong Kong schools. It has grown from modest beginnings into an important part of extra-curricular work. Even in independent societies and associations, many choral directors possess backgrounds in music education and classroom teaching. The teacher education institutions are responsible for training the majority of music teachers in Hong Kong. Thus it would seem necessary for music teacher courses to feature choral training to properly equip teachers before entering the classroom and taking the role of choral director in class, school and perhaps community. In the past there has been no choral director training programme. It seems important to develop ideas for what might be included for the professional development of the student choral teacher, and this is one objective of the current study. This article reports the implementation of a mentoring scheme carried out in a primary school setting. One of the current authors and an identified school choral teacher worked as mentors to provide professional support for a student choral teacher who was selected as the main participant in the case study. The aim was to investigate the potential of mentoring as a way of training a student choral director in a real school setting. Findings from this study reveal that through the mentoring scheme the student choral teacher was provided with an opportunity to interpret, generate, interact and experiment with the choral teaching theory in a real school choral rehearsal setting. This could be seen as a process of knowing-in-action and reflection-in-action.
[Copyright © 2006 The Hong Kong Institute of Education, International Society for Music Education.]

The Arts-in-Education (AiE) Programme was an initiative that involved artists and arts organizations working closely with school teachers in the formal curriculum to enhance student learning by using an interdisciplinary approach. This three-year programme (2000–2003) was organized by the Hong Kong Arts Development Council and co-organized by the Curriculum Development Institute of the Education and Manpower Bureau and the Creative Arts Department of the Hong Kong Institute of Education. It received a total of HK$4 million sponsorship donated by the Hong Kong Bank Foundation. The programme had three main aims: To facilitate partnerships between professional practicing artists and schools to create programmes that enhance the study of the arts and other curriculum areas through the arts; To provide students, through working with the artists, with greater experience with the arts, encouraging them to explore different ways of thinking and work more creatively in the arts and other subjects; To facilitate the sharing and exchanging of ideas between arts and non-arts teachers and professional artists, so they could learn new ways of approaching their topic (Hong Kong Arts Development Council, 2000).
[Copyright © 2008 Springer Science + Business Media B.V.]

The establishment of the Hong Kong Special Administrative Region has brought about enormous structural, social, economical, political and cultural changes to society. The government, the public, and other parties concerned find the need to cope with the multi-faceted changes by reviewing the existing systems and policies as to provide information for improvement or reform, wherever necessary. Education is undoubtedly on the reform agenda. Art education, which forms part of the core curriculum of general education and plays a role for developing an all-round being, deserves due attention. This study intends to obtain a thorough picture on the changes of the philosophy and rationale of art education in the past forty years by a descriptive study on the aims of art education in the official art syllabi of junior secondary schools. The study finds that there is a paradigm shift in art education in Hong Kong: from emotional personal experience to the cognitive and affective learning; from a single dimension of educational aims to multi-dimensional; from mere personal development to personal development, socialization, economic productivity, and further learning.
[Copyright © 2000 The Hong Kong Institute of Education.]

In Hong Kong, except for Art and Craft and Physical Education, official approved school textbooks for pupils and handbooks for teachers are widely used in primary schools. When Art and craft primary teachers in Hong Kong plan for their lessons, they can only follow the official curriculum prepared by the Curriculum Development Council of the Education Department of Hong Kong. Thus, the official curriculum plays a very important role in guiding the primary Art and Craft teachers in planning their taught curriculum. In the first part of this chapter, a brief historical account on the introduction of art education in Hong Kong is given. Then, the chapter examines the developmental trend of the aims of the planned Hong Kong Primary Schools Art and Craft Curriculum from the 1950s to the 1990s. Finally, it discusses both the external and internal factors that influence the art education in Hong Kong.
[Copyright © 2000 The Hong Kong Institute of Education.]