In K-12 schools, classes are forced to transform online due to the class suspension amid the COVID-19 pandemic. Educators began to design alternative ways to conduct some meaningful learning activities for their students. However, not all subject disciplines could be easily transformed online, especially for those requiring much social interaction and creation processes. In this article, we explore the learning processes through learning Shubailan, a form of music folk-talk-singing, with a mobile instrument application called muyu in an online flipped classroom among 122 secondary school students in Hong Kong. The opportunities can encourage students to learn music theories and instruments about Shubailan, and create a Shubailan piece through 6-lesson music learning. To gain more online face-to-face time for collaboration, flipping the online classroom is adopted in this study to engage students in lesson preparations via preassigned recorded videos and collaborative activities during face-to-face online lessons. In this study, a mixed research method was employed with the use of a learning satisfaction survey, teachers’ observations and semi-structured interviews. We found that this strategy could effectively motivate students to learn music and improve their music knowledge in Shubailan. This article presents evidence of implementing the online flipped classroom approach to enhance students’ satisfaction and knowledge acquisition throughout Shubailan music making processes, and offers recommendations for online music educators. Results provide a set of innovative pedagogical approaches to teach music in an online alternative mode during the difficult times. Copyright © 2022 Springer.

To investigate music teachers' perceptions and concerns in fostering music creativity of students with intellectual disabilities, findings are presented from a study of nine music teachers purposely sampled from across all three categories (mild, medium, severe) of Hong Kong's special school for students with intellectual disabilities. Personal profiles identify respondents' displaying three professional knowledge gaps -- music expertise, special-education training and prior experience of being taught 'creativity'. Findings also indicate that respondents add to the creativity literature: first by supplementing Hargreaves' 2012. "Musical Imagination: Perception and Production, Beauty and Creativity." "Psychology of Music" 40 (5): 539-557] 'process' to include 'music making' and 'body movement', and second, that music creativity may be described as a spectrum that embraces various forms of expressions. Copyright © 2022 Routledge.

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.

Art classrooms and museums are places where teachers and students talk about artworks. However, there is a lack of empirical research into dialogue—the most basic component of classroom teaching and the most used education strategy in museums. I investigated the development and experimentation of a dialogue-and-questioning framework for art classrooms and museums. I conducted a design-based research study with seven primary schoolteachers and 187 6th-grade students in Hong Kong. I found that the total number of questions asked by the teacher participants increased significantly. Teachers’ performance, when asking personal connection, observation, interpretation, and evaluation questions, also improved significantly. They became more conscious of relating artworks to the students in a personal way and developed a practice that fostered a more comprehensive understanding of artworks. Student participants began to approach artworks from different perspectives and engaged in more in-depth examinations. Copyright © 2022 National Art Education Association.

Art educators claim that Visual Culture Art Education (VCAE) can facilitate students' critical thinking skills and creativity. This article explores a study conducted in Hong Kong senior secondary schools that analysed the extent to which VCAE promotes creativity and critical thinking skills using both quantitative and qualitative approaches. The discussion identifies the ways that VCAE students made connections between their everyday life experiences, social lives, and culture and in the process developed their creativity and critical thinking skills. Copyright © 2021 Art Education Australia.

In Hong Kong, the Education Bureau (EDB) regularly assesses the quality of services provided by publicly subsidized kindergartens to children aged 3 to 6. Quality Review (QR) reports are written by government officials and published on the EDB's website. This study analyzes the feedback pertaining to Arts and Creativity to better understand the role this learning area plays in Hong Kong kindergartens. Lexical and content analyses were applied on 164 QR reports published between 2017 and 2020. Findings showed that: (1) the role of Arts and Creativity in the QR reports is relatively minor, which suggests that this learning area is somewhat secondary in Hong Kong kindergartens; (2) presence of the various art forms differs significantly, with Music and Visual Arts being more frequent than Drama and especially Dance; and (3) classroom activities seem to be teacher-centered, product-oriented, and reproductive. Findings suggest that the Arts and Creativity pedagogies enacted in Hong Kong kindergartens are not fully consistent with the official kindergarten Curriculum Guide, which draws on a Western conceptualization of creativity in the arts. We argue that this curriculum/practice gap reveals the need for local stakeholders to embrace a "glocalization" paradigm. Limitations, future research, and implications are discussed. Copyright © 2022 Jerry Yeung et al.

The aim of the study is to explore preschool teachers’ folk pedagogy as reflected in music education in Hong Kong by examining how Hong Kong teachers act, think and interact with their students when teaching music, and their response when stimulated by Japanese preschool culture. To illuminate the concept of folk pedagogy, the study investigates the tacit norms, views and values of selected Hong Kong and Japanese music teachers. This research is a multi-case study with an ethnographic design for cultural observation. A meta-aspect of this study is to provide a venue for teachers’ professional development, which consists of sharing videos from other countries, discussing their values and allowing these discussions to enlarge their sense of teachers. Through individual and group discussions and the teachers’ beliefs construction one year later, the teachers’ beliefs, teaching pedagogies and implicit behaviours are identified and analysed. The implications of the study will strengthen music teachers’ evaluations of Hong Kong’s folk pedagogy. All rights reserved.

This study explores how students in Hong Kong perceive the influence of parental support and parental cultural capital on their participation in musical activities. A survey questionnaire was distributed to students attending grades seven to nine at eight Hong Kong secondary schools in the early summer of 2015. The findings from that survey, based on the 1,433 valid questionnaires that were returned, show that parents' cultural background informed their support of their children's musical activities, and could, in turn, enhance cultivation of students' cultural capital. Students in the study also perceived parental encouragement to be more important to their musical activities than the possession of musical competence and knowledge. This study provides a nuanced perspective on the interplay between parental cultural capital and parental support, and students' perception of the influence of parental support on their participation in musical activities in the Hong Kong context. Copyright © 2016 The Hong Kong Federation of Youth Groups.