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.

Until the reforms of the late 1990s, the music curriculum for Hong Kong primary schools focused largely on singing, instrumental playing and listening. Musical creativity, on the other hand, had been largely neglected. In 1997, the Government of the Hong Kong Special Administrative Region of the People’s Republic of China announced that Hong Kong would be transformed to become a ‘knowledge-based’ society. The old school curriculum deemed to be deficient in terms of the intended policy initiatives. A reform of the education system took place with nine generic skills, in which creativity is regarded as one of the main foci, being introduced.Undoubtedly influenced by a large body of research findings that support the contention that Information Technology is a powerful tool for assisting students to learn to compose music, fourteen primary schools in Hong Kong have been set up with computer-based music rooms with the financial support of the Quality Education Fund (QEF). Of these fourteen schools, twelve have focused on the application of technology on musical creativity and teachers in these schools employ various forms of information technology to promote learning through creative music activities. Some methods have proven successful while others have been less so.This paper discusses the implementation of technology-based teaching of musical creativity and analyses the teaching strategies used by the twelve QEF-supported schools. The paper concludes by proposing alternative technology-based strategies — derived from the experience of other countries — that may have the potential to increase the effectiveness of teaching for musical creativity in Hong Kong schools. Copyright © 2005 School of Music, University of Washington.

This paper discusses how IT changes the way of teaching and learning of music composition at school. Four music teachers in Hong Kong took part in a series of semi-structured interviews. They described how they had employed IT in teaching music composition and what types of musical products their students were able to create. It was found that the teachers were simply substituting IT for paper and pencil to notate musical pieces, and they were using a rather traditional “practice and drill” approach to teach music composition. A teaching framework, called Pedagogical Framework for Music Composition with Information Technology (PFMCIT), was thus formulated. The purpose of the framework is to promote the more effective student-centered approach in teaching music composition. It is hoped that the framework can help to improve pre-service and in-service music teachers’ knowledge and skills in the area of IT-assisted music composition education, and to establish a better technological environment for teachers to develop students’ creativity. Copyright © 2012 International Society for Music Education (ISME).