Through the participation of local communities in the arts, Community‐Based Arts Education (CBAE) raises awareness of ecology and the environment, and also facilitates the search for and establishment of a socio‐cultural identity. It provides students with specific forms of experiential learning involving out‐of‐classroom experiences. Since 2003 the Education Bureau in Hong Kong has promoted learning arts in the community in an informal arts educational context. To suit the needs of CBAE, since 2011 the Leisure and Cultural Services Department has offered four successful community‐based arts educational schemes to local primary and secondary students. The aim of the schemes is to enrich students' knowledge of arts and culture and strengthen their capacities to learn arts appreciation and criticism. Between 2011 and 2013, over 30,000 primary and secondary students participated in the schemes. This article reports on a study of the schemes which aimed to identify key elements of good practice in CBAE from students' and teachers' perspectives. In this larges‐cale study, a total of 15,430 students between Primary 1 and Secondary 6 (age 6 to 17) and 1,306 teachers who participated in the schemes were invited to take part in surveys and focus group interviews. The results show that the three central tenets of self‐determination theory, namely, competence, autonomy and relatedness, are the key elements of good practice in CBAE. It is hoped that the research findings will enrich existing knowledge of and provide a new research direction for CBAE. Copyright © 2018 The Author.

This study attempts to explore the implementation of the New Senior Secondary (NSS) music curriculum and senior secondary school music teachers’ perceptions towards the NSS music curriculum in developing students’ creativity. In Hong Kong education reform, the necessity of developing students’ creativity was emphasized and “developing students’ creativity” was addressed as one of the four learning targets of music education. As the last step of Hong Kong education reform, senior secondary curriculum reform has been implemented in 2009. Compared with the previous senior secondary music curriculum, the NSS music curriculum contains more diversified teaching contents and assessment methods. Besides, since senior secondary students who select music as one of their elective subjects have to participate in a public examination, and the results directly related to whether they can be accepted by universities, senior secondary music teachers who are undertaking to teach the NSS music lessons are under a pressure of assisting students to get a positive result in the public examination. Under this circumstance, to what extent the learning target “developing students’ creativity” can be achieved through undertaking the NSS music should be further studied. In this study, seven in-service senior secondary music teachers were invited to share their arrangements of offering the NSS music and their perceptions towards the NSS music curriculum in developing students’ creativity. Since “Creating” was stated as the most effective module in developing students’ creativity in the NSS music curriculum guide, music teachers’ teaching practice for teaching the “Creating” part was asked particularly. Findings indicate that 1) the NSS music was only offered by a few of senior secondary schools; 2) most of the interviewees displayed a positive attitude towards the importance of creativity; and 3) most of the interviewees considered that students’ creativity cannot be significantly developed through

香港實行的中學新學制及西九文化區的建設為高等教育的課程重組、師資培訓、與社區接軌等方面帶來了契機，香港教育學院文化與創意藝術學系的課程設置也做了相應的調整。本文指出連貫的課程設置與培養有創意及有想象力的下一代是教改的關鍵，並從四個方面論述了課程重組與實施的策略：本科知識與教學法緊扣；正規課程與聯課活動(co-curricular activities) 聯系；開辦相關的音樂教育與文化藝術課程；課程善用社區資源。

Following the return of sovereignty to China in 1997, education reform in Hong Kong has been initiated and implemented on a massive scale. The Hong Kong Special Administrative Region (HKSAR) Government has made a concerted effort to improve the quality of education through the reforms, a point witnessed by the creation of a number of different policies and strategies over the course of the past decade. This chapter reviews the music curriculum reforms of 2002, and examines how education policy has impacted on school practices as a result. In the process, various issues, including the place of music in the school curriculum, assessment for learning, the motivation to learn, the nurturing of creativity, and the balance between Western and Chinese culture, are all examined.

本文爲一項有關高中生在考試情境下以文字回應藝術作品的研究報告。本研究根據95名參與「香港中學文憑」模擬考試學生的成績，選出6位高分級別以及6位低分級別的學生作爲研究對象。透過分析學生的答題表現及晤談記錄，研究者審視學生建構藝術評論的方法，並探討形成其表現差異的原因。研究發現高分的學生能夠將作品描述與藝術知識、仔細觀察、情境資訊、個人評價及其它科目知識作出聯繫，並提出較多及較合理的理由和證據支持其對作品的詮釋。研究建議教師應平衡對作品的形式和情境分析以及幫助學生發現作品與其他作品、文化以及個人生活與知識之間的連繫。此外，研究亦建議透過課堂活動和展覽，實踐以藝術探究和評論的方式來提升學生批判藝術的能力。
[Copyright © 2010 藝術教育研究顧問委員會.]