This paper provides a description of a survey on music technology distributed to the music teachers of 378 secondary schools in Hong Kong of which was designed to review the provision of electronic equipment and computers in the music room, reflect to what extent computer technology has been used to assist music teaching, describe the attitude of music teachers towards technology, and draw their views on students' response towards music teaching and learning through computers.

The author points out that Hong Kong is a metropolitan city where Chinese culture meets the West. However, the music curriculum does not reflect a perfect blending of music cultures from both China and the West. In the official general music curriculums set forth by the Curriculum Development Committee, Western music dominates what is currently taught in Hong Kong schools. Chinese music is given far less prominence than Western music in all years of schooling. The author discusses this issue, as well as other factors in the training of the teachers that will help build a more fuller understanding and healthier attitude toward the teaching of Chinese music and Chinese culture.

Noting that there are many definitions of a music curriculum, the author attempts to find out some changes in the music curriculum for Hong Kong primary schools since the 1960s. The discussion focuses on two aspects of the music curriculum for Hong Kong primary schools: the "formal curriculum" and the "operational curriculum". The scope of the author's study is mainly on the analysis of documents available.

The main purpose of the author's research is to investigate the similarities and differences of the music curriculum in Hong Kong and Xiamen (city in Fujian Province, China). The main foci is on the proportion of Western and Chinese music in the curriculum, the extent that teachers follow the curriculum, and the difference in teaching method in conducting the curriculum.

The author points out that the inclusion of creative activities in general music education has become a common practice since the late 1960s in various developed countries. However, creative activities have not received a similar emphasis in Hong Kong. In order to assess the current situation of applying creative music-making activities in Hong Kong secondary schools, a structured questionnaire was designed to investigate the current situation in schools. The author then discusses the results of this questionnaire, as well as some of the most important implications.