The purpose of the study is to analyse and discuss the influences of globalisation and localisation on music education in Hong Kong and Taiwan. It argues that the reform of music education concerns changes to the contents of the curriculum that envisage the cultural and political developments that arise from processes of globalisation and localisation in these two Chinese societies. 'Glocalisation' throughout this essay refers to the interface of the global and the local. I conclude by discussing three issues relating to the processes of glocalisation that have shaped music education and cultural identity in these two changing societies: (1) the multiculturalism of music education; (2) the promotion of local music cultures in the curriculum; and (3) the inclusion of Confucian ethics in song lyrics. This study argues that education that promotes family values and social harmony can satisfy concerns that glocalisation involves the adoption of both Chinese and foreign songs in the school curriculum.
[Copyright of Comparative Education is the property of Routledge. Full article may be available at the publisher's website:
http://dx.doi.org/10.1080/03050068.2012.686678]

The year 2008 marked the 11th anniversary of Hong Kong's return from the UK to the People's Republic of China. In this decade, the Hong Kong Special Administrative Region Government has repeatedly emphasised the importance of the development of national identity and patriotism in school education, and has at the same time introduced diverse cultural values into the school curriculum. This article explores the dynamics and complexity of the relationships between the state, globalisation and nationalism in Hong Kong that are re-shaping music education in response to contemporary socio-political changes. It argues that Hong Kong school music education has made a gradual cultural shift towards globalism and nationalism, and away from the Westernism that has dominated Hong Kong music education since before the change of sovereignty on 1 July 1997. The article concludes with a discussion of how music education might juggle two pairs of relationships in the curriculum: between global and national cultures; and between the education of cultural values and nationalism in Chinese music. There is pressure to rethink teacher education in terms of the need to be aware of the socio-political environment in which it operates, and within which it makes music education socially relevant.
[Copyright of Music Education Research is the property of Routledge. Full article may be available at the publisher's website: http://dx.doi.org/10.1080/14613800903390741]

This paper explores two current issues in the educational policies and practices of Hong Kong that have been shaped by the emergence of the nation-state and the return of Hong Kong's sovereignty from the UK to the People's Republic of China on 1 July 1997. Since this time there have been two great challenges facing music education. The first concerns how to incorporate diverse cultures, including Chinese music, into a Western-orientated music curriculum; and the second is to find a way to cultivate national identity and democracy through music education. The data presented here were collected via in-depth, semi-structured individual interviews with music teachers, school heads and assistant school heads across 40 primary and secondary schools between 2006 and 2007. The findings can be explained by referring to the shortcomings of multicultural education and the underdevelopment of democracy in Hong Kong's education system.
[Copyright of Discourse is the property of Routledge. Full article may be available at the publisher's website: http://dx.doi.org/10.1080/01596300902809203]