In Hong Kong, quality assessors from the Education Bureau (EDB) visit kindergartens to conduct Quality Review (QR) assessments. Their written reports, therefore, reflect the official local perspective of quality kindergarten education. We conducted a content analysis of 323 QR reports focusing on the positive and negative feedback and recommendations for improvement regarding music education. Two coding schemes were developed using an inductive approach. High inter-reliability was obtained. The most frequently mentioned positive feedback codes were related to sufficient exposure to music and enjoyable musical learning experiences. In contrast, there were negative feedback codes pointing out that children’s musical exposure was insufficient at Kindergarten 3 (children aged 5–6 years), and some musical activities were poorly prepared and/or designed. Children’s music learning outcomes were rarely mentioned in the reports. The analyses indicate that the local understanding of kindergarten music education strongly emphasizes exposing children to enjoyable musical activities, with a lower focus on the nature and quality of musical learning. We conclude that the QR reports reflect a teacher-centric view of music education. Findings may inform curriculum designers and teacher educators about EDB’s expectations in the area of music education. Future research should explore the perspectives of other kindergarten stakeholders such as teachers, principals, and teacher educators. Copyright © 2024 by the authors.

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.

The language of music shares a number of basic processing mechanisms with natural languages, yet studies of learner autonomy in music education are rare. This study aims to assess the effectiveness of fostering music students' learner autonomy in performance practice through a series of curriculum changes. A mixed-methods approach, including a questionnaire survey and semi-structured interviews, was used to investigate two cohorts of music education students (N = 74) from Hong Kong. The analysis reveals the students' autonomous learner characteristics, including the ability to formulate their own learning strategies, identify both musical and non-musical weaknesses and take appropriate steps to improve their performance skills. Copyright ©Cambridge University Press.

Why should bringing the power of music into student learning be a challenge - even more so when the class comprises students deemed in need of 'special education'? To address this question, three case studies are presented of Hong Kong special schools music teachers experienced in teaching students with intellectual disabilities at senior secondary level. Findings suggest that behind individual teacher variations to the standardised music curriculum lie not only rigid pedagogies, but also limited implementation strategies and hence mindsets of low expectations of 'special education' students' music learning. This predictive and prescriptive approach to student learning is here challenged by an alternative view that, to successfully aid 'special education' students, it is helpful if teachers reflect first on what learning is like for these students.
[Copyright of Music Education Research is the property of Routledge. Full article may be available at the publisher's website:
http://dx.doi.org/10.1080/14613808.2014.906396]

This paper reviews the official aims of the formal music curriculum as promulgated by the Hong Kong Government, compares them to teachers' perceptions of those aims, and analyses the explanations of teachers for the pedagogic approach they emphasize.