The fast growth of digital technology, transportation system, and wireless communication networks in recent years has dramatically increased the contact of people from different countries and regions. Accompanying this is the need to have better understanding of different cultures to attain harmony among all walks of life for a concerted effort to develop the earth. As an important part of culture, music facilitates the multi-faceted understanding and knowledge of countries and regions. Western classics, which have long taken an important portion of the music curriculum, gradually got more companies from local traditional music and popular music as can be seen from the music curriculum of many places. Excluding these, to what extent music from other parts of the world is included in the music, educational, and cultural policies of china is worth investigation. This paper will focus on cultural inclusivity in the music curriculum of primary and secondary schools in Hong Kong and Nanjing. Curriculum documents for various stages of learning from lower primary through senior high school levels would be investigated and compared. It will see how much cultural understanding may be brought about by the music curriculum. The depth and breadth of this cultural understanding would be analyzed and the transparency of purpose checked. There would be a review of the literature in an attempt to establish the basis for analysis of the curriculum documents. The inclusion of music from different parts of the world appears to be covered in relation to the domains of appreciation, performing, and creating, as well as cultural specific areas such as aesthetic sense, philosophical aspirations, and functionalities (context of the music). Implications for music education, teacher education, and policy-making regarding cultural inclusiveness would be deliberated to inform concerned music educators.