Educational reforms and curriculum changes are no strangers to the educational sector of Hong Kong. Every time, changes are accompanied by new aspirations. The abandonment of the old and taking up the new ideals are not always smooth and effective. There is usually a shift of emphasis on the aims of education as in the case of the primary music curriculum in Hong Kong in the last few decades. The two earliest official music syllabi issued by the Education Department in 1968 and 1976 reveal both the changes and continuity in the concept of the music curriculum. In this chapter, the author critically analyze these two syllabi to find out the principles of music education expressed explicitly and implicitly in them in the light of influential factors, such as the historical development and contemporary thoughts about music education. Basing the findings, recommendations are drawn for the music educators and researchers for their future practice. All future educational reforms should take care to fill the gap between the intended and implemented curriculum, so that the avenue leading us to our intended ideals can be clear and through.
[Copyright © 2000 The Hong Kong Institute of Education.]

Research reinforces the importance of experiential activities in exerting a positive influence on pre-service teachers' attitudes toward musical genres and cultures. This paper presents a case study that demonstrates the effects of active musical participation in one indigenous Chinese music genre, the Xianshi music, on pre-service teacher's understanding and attitude toward Chinese music. In this study, the pre-service teacher, whom the researcher will call Helen, was one of the pre-service teachers from a three-year longitudinal study of 14 pre-service teachers and the researcher studied at the Hong Kong Institute of Education (1998-2001). In year 1 of the study, Helen's initial exposure to Xianshi music was through formal lectures. Pre and post reflective comments were used to investigate her understanding and acceptance of Xianshi music and Chinese music. During year 2 and 3, Helen had first hand experience on music making in Xianshi music by participating in the HKIEd's Xianshi music ensemble. Three structured interviews were conducted to determine the effects of her participation in the Xianshi music ensemble on her views about Xianshi music and Chinese music. Results show that through continuing exposure of a first hand experience in Xianshi music, Helen was able to think critically and developed a more sophisticated understanding and appreciation of Xianshi music and Chinese music. Implications for Chinese music education will be discussed in the paper.
[Copyright © 2003 The Hong Kong Institute of Education.]