The first COVID-19 case in Hong Kong was detected on January 22, 2020. The disease spread quickly. Schools were suspended from January 25 to May 24. During these four months, the Government promoted online learning to replace face-to-face learning. However, as online teaching was very new, school music teachers had found tremendous difficulties, especially in recorder playing and ensemble training.On the other hand, the Hong Kong Diploma for Secondary Education Examination was postponed from March 11 to April 24 in the same year. New measurements for disease prevention were implemented. For example, Paper-II Performing was cancelled as it involved ensemble playing, which was not in line with the Government’s disease prevention policy. In this study, I have invited two primary school music teachers and two secondary music teachers to share the challenges and opportunities they have faced in teaching during the pandemic. Copyright © 2022 International Society for Music Education.

Art classrooms and museums are places where teachers and students talk about artworks. However, there is a lack of empirical research into dialogue—the most basic component of classroom teaching and the most used education strategy in museums. I investigated the development and experimentation of a dialogue-and-questioning framework for art classrooms and museums. I conducted a design-based research study with seven primary schoolteachers and 187 6th-grade students in Hong Kong. I found that the total number of questions asked by the teacher participants increased significantly. Teachers’ performance, when asking personal connection, observation, interpretation, and evaluation questions, also improved significantly. They became more conscious of relating artworks to the students in a personal way and developed a practice that fostered a more comprehensive understanding of artworks. Student participants began to approach artworks from different perspectives and engaged in more in-depth examinations. Copyright © 2022 National Art Education Association.

The disruptions caused by the COVID-19 pandemic affected education and services geared toward young children and families, including early childhood music programs. While some programs were shut down, others were able to migrate to online formats and outdoor offerings (where allowed). Early childhood music programs are usually collective, with babies and young children often sharing and exploring common spaces, instruments, and props. These programs are also heavily based on singing, a behavior that is celebrated by early childhood specialists for its emotional expressiveness, communicative potential, and relevance for child development. Because the coronavirus can be transmitted via aerosol particles, singing became highly unsafe during the pandemic. Other challenges arose as early childhood music education programs were transferred into new formats, ranging from issues of logistics and access to technology to adherence to everchanging local and national policies, as well as cultural beliefs and behaviors. In this chapter, teachers, researchers, and program directors offer stories of adaptation and resilience in varied early childhood music programs in Kenya, Hong Kong, New Zealand, Brazil, South Korea, and the United States. Accounts are presented first, followed by their juxtaposition, to reveal common themes and implications for early childhood music education in the post-COVID era. Copyright © 2022 The Author(s), under exclusive license to Springer Nature Switzerland AG.

In Hong Kong, the Education Bureau (EDB) assesses the quality of services provided to children in local kindergartens. Quality Review (QR) reports of kindergartens that pass the assessment are published on EDB’s website. We conducted a content analysis of 164 QR reports to examine the alignment between the music activities alluded to and the curriculum objectives established for music in official policies. A coding scheme was developed using both inductive and deductive approaches. High inter-reliability was obtained. MAXQDA was used to conduct word frequency, descriptive, and co-occurrence analyses. The most common terms identified in the music-related segments focused on children’s development of sensory abilities through music experiences, in relation to singing, rhythm, beat, movement, and instrumental music. However, activities intended to foster musical creativity and self-expression were seldom mentioned. We conclude that the QR reports reveal important discrepancies between official curriculum policies and actual classroom practices, which EDB assessors seemed to ignore or overlook. Implications focus on the need for kindergarten stakeholders to address curriculum/practice gaps and further prepare teachers to foster children’s musical creativity. Copyright © 2022 Yan Lam HO, Alfredo Bautista.

In this case study, the author research on the current teaching phenomena of Paper 3: Creating of the Hong Kong Diploma of Secondary Education (HKDSE) Examination Elective Subjects: Music. The examination has been implemented after the curriculum reform of the senior secondary school since 2012 where music composition becomes one of the compulsory assessment. According to the Curriculum and Assessment Guide (Secondary 4-6) Music by the Curriculum Development Council and the Hong Kong Examinations and Assessment Authority, the assessment objective is to create and arrange music using appropriate compositional devices, and explain the use of music elements in compositional devices of their compositions. Without any prior experiences in the teaching composing for public examination in the past, schools have adopted different models to teach composition which include hiring external company and tutor to teach; forming a joint-school network; and teaching the whole curriculum by the school teacher. This qualitative study contributes to the understanding of the current HKDSE learning and teaching situation with a focus on the perspectives from school music teachers and composer-instructors. Copyright © 2021 Melbourne Graduate School of Education, University of Melbourne, Australia.

A museum is an educational fair which facilitates individuals to explore and discover through inquiry. Museums provide participants with direct learning experience with objects and exhibits that relate to concepts and disciplinary subjects in the arts, history, science, and social science of specific time and space. Learning through museums is considered as one of the informal learning ways which is very different from formal learning in schools. This study aims to investigate Hong Kong primary school teachers’ and students’ perspectives, learning experiences and motivations in museum learning and visits. A survey study is adopted to gather the views and experiences of a sample of senior primary school students and teachers, in the local primary school context, on museum learning and visits in the past three years. Learners’ actual and preferred visits to museums as well as the types of motivations involved in visiting museums in a Chinese culture and context will be explored. The ways of interactions and various types of museum learning will also be examined, and teachers’ and students’ perspectives will also be compared. This study will provide insights into the enhancement of meaningful museum education journeys for students. Copyright © 2021 International Conference on Learning and Teaching.

The meanings and value of the arts and their impact on students’ learning have long been main areas of focus in arts education research. In Hong Kong, there are only a few studies discussing the impact of performing arts education on students’ learning, which leaves a gap in the overall understanding of performing arts education. This article reports on a study of performing arts education in Hong Kong. The participants of the study are students, teachers, principals and arts groups. A total of 28 focus group interviews were conducted with participants recruited from 25 primary schools, 26 secondary schools, one international school, nine tertiary institutions, five special schools and 20 arts groups. Although this study confirms the claims made by arts educators that performing arts education can promote students’ awareness of creative and critical thinking skills, change their behavior and attitudes, increase their socio-cultural awareness and benefit their all-round development, the stakeholders had different interpretations of the meaning and value of performing arts education. There appears to be a gap between arts groups and schools in the understanding of the fundamental purposes of performing arts education and the role that it should play in the school context. Copyright © 2022 Taylor & Francis Group, LLC.

進入21世紀，互聯網、大數據、人工智能等技術迅速崛起；其發展為傳媒業帶來巨變，對應為傳媒教育也帶來了質的變化。以人文教育為本的新聞傳媒教育，與科技快速擴張本身存在與生俱來的張力與矛盾，在洶湧的傳媒科技革命浪潮下，傳媒教育是否應讓科技知識作範式主導？本文以香港浸會大學傳理學院為案例，從知識社會學角度分析新聞與傳播教育在新的社會環境和媒體生態下的情境和發展，著重探討科技對傳媒教育知識和課程的影響與挑戰，並以範式轉移的視角審視該領域的變革。Copyright ©2021 世新大學.