進入21世紀，互聯網、大數據、人工智能等技術迅速崛起；其發展為傳媒業帶來巨變，對應為傳媒教育也帶來了質的變化。以人文教育為本的新聞傳媒教育，與科技快速擴張本身存在與生俱來的張力與矛盾，在洶湧的傳媒科技革命浪潮下，傳媒教育是否應讓科技知識作範式主導？本文以香港浸會大學傳理學院為案例，從知識社會學角度分析新聞與傳播教育在新的社會環境和媒體生態下的情境和發展，著重探討科技對傳媒教育知識和課程的影響與挑戰，並以範式轉移的視角審視該領域的變革。Copyright ©2021 世新大學.

Purpose This study explores the learning and career motivation of the students who have chosen archival studies as their major in their master's degree programs, which has scant prior research. Design/methodology/approach The authors use a qualitative interview method to investigate the students' opinions and underlying reasons. Nine students from the University of Hong Kong (HKU) and University of British Columbia (UBC), both members of the iSchools, were interviewed. Considering the responses and research questions, the authors applied content analysis techniques to summarize data gathering from interviews into five themes to better interpret the meanings behind them. Findings Despite different development stages of archives sectors in Hong Kong and Canada, the learning and career motivation factors of these students from both universities share some similar characteristics and can also be divided into intrinsic factors (such as personal interests, personalities) and extrinsic factors (such as prior working experience, working environment, nature of archives work and development of the archives field). Both intrinsic and extrinsic factors significantly influenced them in choosing archival studies as major in their graduate studies. Practical implications These findings can help educators and professions review and improve the curricula as well as promote the profession to the public and attract more people to pursue their studies in the archives field. Originality/value Scant studies discussed the career development and education motivation of archivists, especially related to Asia. Copyright ©2021 Emerald Group Publishing Ltd.

In the context of increasing disciplinary interest in ‘geographies of education’, this article looks at the particular phenomenon of cross-border schooling (CBS), wherein children are involved in daily boundary crossing for education and engage in a (usually) arduous commute. Here, we draw upon a recent research project involving CBS at the Shenzhen–Hong Kong border. We consider three aspects of this border crossing that were significant in the project’s findings: the materialities of the border; the importance of routine (and rhythm); and the daily experience of tiredness and relentless exhaustion for the children and parents involved. The article also highlights the themes of ‘Changing Places’ (especially how they are known and experienced) and ‘Globalisation’. Copyright © 2021 Taylor & Francis Ltd.

For performing arts education, Sage on the stage and Learn from the Masters were halted by the COVID-19 pandemic, and so did everything else. All lectures, tutorials and other face-to-face skill-based training sections were cancelled and were replaced by the online model. Such a model was only seen as one of the supplementary components for performing arts education in the past. From January 2020, this online pedagogy was inevitably placed to surmount the challenges caused by the COVID-19 pandemic. The social distancing measures demanded the blended pedagogy into a new online approach, in which the traditional face-to-face teaching to be replaced by synchronous online learning (facilitated by technologies such as Zoom, Cisco Webex, Google Class, Panopto etc.). Meanwhile, to offer opportunities for cognitive participation which allows students to process the learning and be reflective, webinar and innovative performance projects were launched from the concept of ‘flipped classroom and outcome-based education.’ This mixed approach (blended learning, flipped classroom, and outcome-based education) is described as ‘hybrid learning’ in this study.The ‘hybrid learning’ pedagogy is implemented at the Hong Kong Academy for Performing Arts (HKAPA) for all teaching activities in the 2nd semester 2020/2021 to overcome the challenges caused by the COVID-19 pandemic. A questionnaire survey about how it affected the performing arts education, and how the new pedagogy was implemented took place in July 2020. The survey results from both the teachers (76) and students (163) share lessons, insights, and new understandings on teaching and learning online. Hybrid learning has been widely investigated and researched, yet study on hybrid learning in performing arts such as creative art, theatre art and music, remains insufficient. This study fills the research gap. Copyright © 2021 Springer Nature B.V.

In Hong Kong, the principle of 'one curriculum framework for all' applies to all students, including students with special educational needs (SEN) (EDB 2020. "Special Education Needs." https://www.edb.gov.hk/en/curriculum-development/major-level-of-edu/special-educational-needs/index.html). Students with intellectual disabilities (ID) are expected to achieve the same learning targets as their counterparts in mainstream schools. Within this common curriculum framework, students (age 6-14) study Music with one of its overall aims 'to develop creativity' (CDC 2003. "Music Curriculum Guide" ("Primary 1 - Secondary 3"). Hong Kong: CDC, 11). This qualitative multiple case study reports a sample of nine music teachers fostering the musical creativity of students with ID. A discussion of the findings reveals that in this sampling: (1) instructional strategies focus on the process not product of musical creativity, (2) creative fostering strategies embody gamification and (3) these music teachers re-frame creativity as being innate and commonly held by their students with ID. Copyright © 2021 Routledge.

In this paper, taking as our point of departure the importance of China's " boya " education (BYE) and the West's liberal arts education (LAE) in an era that will be increasingly dominated by information technology (IT) and Artificial Intelligence (AI), we examine the importance of BYE in Mainland China and LAE in the U.S. and Hong Kong. We argue that (a) the recent resurgence and growing significance of LAE in the world has been due to the right skill sets it provides in the information technology era in which many new jobs will be created and existing jobs destroyed ; (b) professional or technical training is not only compatible with the fundamental values of boya or liberal arts but also important in showcasing the strengths of BYE and LAE; (c) the combined benefits of BYE or LAE and professional or technical training may be achieved by adopting the main features of LAE such as its broad-based curriculum and whole-person development approach to undergraduate education or by combining a student's undergraduate and postgraduate studies over time; and (d) for BYE to achieve its goals in China it should occupy a central rather than tangential role in the undergraduate curriculum. Copyright © 2021 Elsevier.

The purpose of this study was to explore how instrumental teachers reflect their professional development pathways with reference to their own apprenticeship experiences. The participants were three female instrumental teachers who taught the piano and violin. Reflections of teachers’ own learning experiences on their career pathways and professional development were collected from the participants through interviews, teaching diaries, and field notes. Several themes emerged from the data collected over an approximately six-month period. First, all the participants experienced long musical apprenticeships. Second, the teachers rarely perceived pedagogical skills are ‘learnable’ skills as performing skills. Finally, all the teachers were only interested in practical, examination-oriented professional development programmes, as opposed to academic or pedagogically-oriented outcomes such as journals or conferences. The unitisation of professional development choices would appear to be the most urgent and pressing problem faced by instrumental teachers. Copyright © 2021 Informa UK Limited, trading as Taylor & Francis Group.

Transmitting traditional music for sustainability has been a common theme in global music education. Recently, the school systems of Hong Kong and Guangdong have been encouraged by governmental authorities to teach Cantonese opera aiming at enhancing the sustainability of the genre and promote a Chinese cultural identity within students. This paper details a survey of school music teachers working in Hong Kong and Guangdong examining the current state of Cantonese opera teaching in the schools of both regions and investigate how it is affected by teacher variables including their interest in Chinese opera, the confidence in teaching the subject, and their perceptions of their Chinese cultural identities. A total of 1,974 valid questionnaires were received and examined. Descriptive and inferential statistics including MANOVA and chi-square tests were used to analyze the data. Findings reveal that Cantonese opera teaching is limited in both regions. While teachers are modestly interested, confident, and knowledgeable about teaching the genre, there is a significant relationship between the music backgrounds of teachers and their interest in Cantonese opera. The article discusses the findings within the context of a historical predominance of Western music within music education curricula and wider societies. Implications for policy makers are proposed. Copyright © 2021 Taylor & Francis Group, LLC.