Teaching Cantonese opera in schools has been advocated by the Hong Kong Government for more than a decade. However, Hong Kong music teachers find teaching Cantonese opera difficult due to their lack of relevant training. Research suggests that Hong Kong music teachers would be modestly confident and competent to teach the genre if a partnership approach is undertaken in which a professional artist collaborates with the teacher in teaching. Nevertheless, what are the problems that music teachers face in such partnership? A group of music teachers comprising six from four primary schools and six from three secondary schools participated in a collaborative teaching project with professional practitioners of Cantonese opera in 2009-10. Each school collaborated with one Cantonese opera artist in teaching a unit within eight weeks. All the classes were videotaped and observed with a focus on any constraints that teachers would face during their teaching. In addition, they were invited to participate in semi-structured interviews for further validating and triangulating the observation by the researcher. Initial findings from the study mainly include the misconception of pedagogy used in teaching the ethnic genre by employing Western music concepts including equal temperament, Bel Canto singing and Western notation system. The impact of using Western music concepts include: a) hindering students’ understanding of the nature of the genre such as the freedom of improvisatory development in life performances; b) hindering understanding of the authentic ‘Hepta-equal temperament’ used in the genre; and c) misleading students that the voice projection method is similar to the one in the Western music. This study identifies the issues raised and warrants discussion and implications of strategies in solving the problems. Initial implications include the need of professional development of both the music teacher and the artist.

Education in Hong Kong is currently facing the great challenge of reformation in the new century. Music, being a school subject for more than four decades in Hong Kong, provides one of the aesthetic experiences to all pupils in primary and junior secondary schools, which has been recognized as one of the core elements in an all-round education system. However, there is a lack of research studies that investigate how musicianship should be nurtured in general music classes in Hong Kong. Teaching strategies in music classes were ignored yet practical and important for teacher preparation. This paper reports the findings of a case study in which a number of successful music teaching strategies in a primary school were revealed. Through a semi-structured interview with the music teacher of the school, participant observation of 24 music lessons in two weeks, and an analysis of the video recordings of the class teaching, this study aimed to identify the successful teaching strategies employed in the classroom. Findings include four identified strategies that employed by the music teacher: 1) performing with aural training, 2) sound before notation, 3) repeats with slight variations, and 4) positive reinforcement.
[Copyright © 2003 The Hong Kong Institute of Education.]

This paper reports parts of the results of a study on secondary students’ motivational changes on musical composition after completing a compositional task. A total of 606 students from four secondary schools in Hong Kong responded to a set of pre- and post-activity questionnaires before and after completing a compositional task. A t-test was used to compare the mean score changes in motivation. In addition, a multiple-case study approach was undertaken to observe the class teaching of the schools, consisting of non-participant observations and reviewing video recordings. The nature of each of the different compositional tasks undertaken in various schools was reviewed, and each one’s relationship with the resultant motivational changes was examined. Results suggest that the teacher presentation, the nature of the composition tasks, and the level of structure may affect motivational changes. Using computers in a compositional task and students’ academic background are irrelevant to the students’ motivation changes.
[Copyright © 2008 USF CoTA School of Music.]

Choral singing in Hong Kong schools has been developing for over four decades. Nowadays most of the schools own their choirs for performances and competitions. However, the teaching methods of choral conducting in Hong Kong are in lack of formal research and documentation. Many music teachers tend to work on their own without seeking for improvement through research, workshops, seminars and conferences at a large extent. Meanwhile, applying kinesthetic movement and gesture (KMG) has been advocated in other overseas countries for a period of time and significant teaching effectiveness has been noticed. After reviewing the relevant literature as a background, this study therefore aims at investigating the present situation of applying KMG in Hong Kong schools by a questionnaire survey. In addition, three semi-structured interviews were conducted to seek the opinions and personal experiences of three pioneer music teachers who have been applying KMG for 10 to 24 years. Findings from the questionnaire survey reveal that those music teachers who apply KMG in their choral teaching admitted that they found KMG very effective in various ways such as relaxation while singing. Furthermore, the three interviewees have provided a number of concrete examples of applying KMG in teaching children to understand musical elements, and developing their vocal skills and choral skills. These findings provide implications on how music teachers should teach in their choral activities.

Similar to many other countries, creativity has been included in the arts education curriculum in schools of Hong Kong since 2003. in order to prepare preservice music teachers to cope with the requirement of the curriculum, a specific course titled “Creativity in Music” has been introduced to a B.Ed program at a major teacher education institution in Hong Kong. The course was designed with an outcome-based learning approach in which the learning outcomes of the students are clearly defined and assessed formatively and summatively. This presentation introduces the specific aims, content and assessment method of the course. A number of 30 final year music majors took part in the course from September to October 2011 and afterwards they participated in a field experience for their teaching practice in schools for eight weeks. They were required to employ collaborative creative music-making activities in their teaching practice. Semi-structured interviews with observation of video recordings were used to collect qualitative data in order to examine these research questions: to what extent the course could nurture the student teachers in teaching musical creativity effectively? And, what and how should the course be improved to further enhance the learning effectiveness in schools? The findings of this study would shed light on how pre-service teachers respond to an existing course in teacher education program and provide evidence on the effectiveness of such course. Implications for other countries’ references are to be made.

Music curriculum reform in Hong Kong has been formally implemented since September 2006. Under such circumstances music teachers are to develop their school-based music curricula with regard to their specific teaching contexts. Generic skills are positive attitude and value should be developed by all Key Learning Areas including Arts and Music. This study expands on recent case study research which found four attributes of teacher quality in music teaching at a secondary school in Hong Kong (Leung & Wong, 2005). It aims to examine how music teachers in different types of Hong Kong schools implemented curriculum reform from September 2006. It focuses on the attributes of good practice in music teaching and learning in secondary schools, particularly the relationships between contextual factors, teacher quality, teaching strategies and learning outcomes. Three samples of different kinds of schools, namely, government schools, aided schools and direct-subsidy schools were invited to participate in this multiple-case study in which classroom observation and semi-structured interviews with teachers and students were conducted. Different contexts, teacher and student characteristics and their interrelationship are to be analyzed. The findings of this study will contribute to the quality of music education by revealing successful approaches to the design and implementation of school-based music curriculum, the attributes of teacher quality and student responses to learning under the reform changes.