Music teachers in Hong Kong schools are required to pay more attention to various forms of Chinese music after the return of Hong Kong to Chinese sovereignty in 1997. This new emphasis gave rise to an additional dimension in the music curriculum as well as many teaching problems. For instance, teaching materials on Chinese music are found to be inadequate. Teachers of Chinese music needed more musical experience and training. Teaching methods of proven effectiveness in this area are also in short supply. And then there is the problem of over learning, as students are provided with considerable amount of information on both Western and Chinese music. A study was undertaken to develop an effective strategy to teach traditional Chinese music in the context of Hong Kong secondary schools. Experiments were designed to test three identified variables that are likely to affect the results of classroom teaching. The variables are: 1. teaching sequence, 2. proportion between information and direct music experience, and 3. degree of framing. However, the findings of the experiments are inconclusive. As a demonstration of the approaches to this study, the experiment involving two different teaching sequences is described in this paper.
[Copyright © 2003 The Hong Kong Institute of Education.]

Choral singing has become one of the major cultural and artistic activities in Hong Kong primary schools. It is also the extension of the classroom singing experience and served as a platform for students to nurture their singing skills, enhancing musicianship and facilitating artistic experience through choral performance. In view of the tight rehearsal arrangement, conductors are required to manage the rehearsal efficiently and effectively. In order to achieve the musical tasks and objectives being put forward within each choral rehearsal, the teaching and learning effectiveness are crucial within the process. The current paper looks at four elite choirs and their conductors focusing on their conducting and rehearsal behaviors in relation to successful and effective rehearsal performance. Besides, this study also investigates the modes of communication utilized by the choral directors within the rehearsal structure, including conductor’s task presentation, ensemble interaction and conductor’s feedback. The unique contribution of this paper to music education research is that it takes both the experimenter’s perceptions, those of the conductors and the choristers into account and triangulates these data in a detailed analysis. Certainly, such investigation could contribute valuable information on the teaching and learning effectiveness within the choral performance preparation process.
[Copyright © 2003 The Hong Kong Institute of Education.]

背景：近年，亞洲各國的教育模式，都嘗試從過往的填鴨式教育，走向全人教育、強調創造力的發展方向。香港進行了大規模的教育改革，呼籲加強創意人才的培養，但今天香港的學生最大的智能缺陷，就是缺乏創意和想像力，其中是填鴨式的教學模式和沉悶的課程所致，令學生失去學習的興趣。 調查目的：探討如何有效在幼稚園設計一個創意音樂與肢體動作課程，並如何有效地將創意音樂與肢體動作課程在學校內推行。 調查對象：年齡介乎5-6歲之間的10名幼稚園高班學童及其班主任，在音樂-肢體活動課對兒童及教師作出觀察。 方法：採取「隨機抽樣」的方式，由教師(班主任)抽出10名年齡介乎5-6歲之間的幼稚園高班學童，透過直接的觀察及觀察評量表，在他們進行音樂與肢體動作課程時，以攝錄機拍攝整個活動過程，並透過錄影帶再附以評量表觀察兒童的行為表現及教師的特性(該10名兒童的班主任)。 結果：研究結果發現創意音樂與肢體動作課程是一項充滿創意及互動性的活動，透過創意、音樂、肢體動作的串通，能讓幼兒自由想像、發揮創意及主動投入活動中。 總結：創意音樂與肢體動作課程確能提升幼兒各方面的潛能，並能引發及強化幼兒主動參與活動，幼兒在創造行為、動作技能、基礎動作、音樂概念各方面的表現及至教師的特性，均有明顯的進步。透過多元化的音樂與肢體動作課程，確能誘發幼兒主動學習的興趣。"
[Copyright © 2008 New Horizons in Education.]

The 1995 primary Art and Craft syllabus in Hong Kong states that there should be emphasis on three learning domains, i.e., understanding art, making art and living with art. In this information age, the World Wide Web has become one of the electronic media providing resources for teachers. In 1997, the Government demonstrated its serious commitment to IT in education. But at that time, there was little evidence of a strong IT culture in primary schools, and teachers in general had little experience in using IT. Four years later, in 2001, I carried out research into Hong Kong 1 primary art teachers’ experiences in computer use and their views on teaching and learning through web sites. Quantitative and qualitative research methods were used. Data for this study were collected from questionnaires, focus group discussion and individual interviews. The data reflected that the Hong Kong art teachers had a firm belief in web site being a helpful source for their own teaching and learning. However, the data also reflected that the teachers had difficulties in finding time to use web sites to support their teaching and learning in practice. The findings indicated that teachers’ workload was too heavy and art as a subject was neglected in primary schools in Hong Kong.
[Copyright © 2002 The Hong Kong Institute of Education.]

This paper aims at identifying and recording good music teaching practices that promote social inclusion, and at developing effective teaching strategies that incorporate student perspectives into the pedagogies. A music teacher in Hong Kong was selected for this study, and two different classes of Form 2 (ages 12-13) were observed. The teaching process was videotaped and reviewed. Afterwards the teacher and a group of students were invited to participate in a semi-structured interview to solicit their ideas towards good practice of music teaching. Findings reveal that the good practices observed were attributed to four factors: 1) teacher’s personality, 2) teacher’s pedagogy, 3) teacher’s musical competence, and 4) teacher’s philosophy of teaching.

This paper examines the effects of computerised music instruction on student motivation to learn music through a case study of five secondary schools in Hong Kong. Two main types of music software were used: the sequencing Technology-based Music Learning (TBML) type for composing, arranging and creating sound projects and the closed-package Computer-assisted Music Instruction (CAMI) type for enhancing musical knowledge such as the introduction of the musical instruments, Chinese operas and music theory. The researcher observed 16 lessons and 2sessions of extra-curricular activities in all and interviewed 5 teachers and 44 students. Analysis showed that use of the divergent sequencing software generated more student interest. It also showed that peer and independent learning took place more readily and that students demonstrated musical understanding more vividly through their creative work. When using the closed-package CAMI software, most teachers and students enjoyed the attractive visual effects, the organised sequential instruction and efficient feedback. The results may help music educators to review several pressing issues in the 21st century, including music curriculum design catering for teenagers with different learning styles when using music technology. The results may also have implications for teaching styles, changes in the teacher’s role with increased student autonomy, and the need for hardware and software support for classroom music lessons.
[Copyright © 2002 The Hong Kong Institute of Education.]