對粵港澳普通話教程是面對廣東, 廣西, 香港, 澳門以及海外粵語背景人士編寫的普通話口語教材. 本教材適用於大, 中學普通話課程教學, 也適用於其他普通話課程教學或自學.

Music listening occupies a central part of music studies at all levels of education. However, according to the relevant research, teachers have been emphasizing students’ cognitive responses with limited connection to the affective domain during. Undergraduate music majors have little interest in those teaching materials chosen by their teachers. This study is based on motivation theory, which emphasizes cognitive and affective responses during the learning process as well as requiring teachers to understand students’ behaviors, thoughts and feelings. The aim of this study is to investigate and explore teachers’ beliefs and pedagogies toward students’ affective responses during music listening in higher education under the context of mainland China and Hong Kong. The following two research questions guide the whole study: a) what are university music teachers’ beliefs and pedagogies toward affective response during music listening and learning in higher education? (b) How do their teaching pedagogy represent their belief? This study uses a mixed-method approach and includes two phases. Phase I aims to investigate the current situation regarding teachers’ belief and pedagogy towards affective responses while listening and learning to music. A questionnaire surveyed the views of 185 university music teachers recruited from 17 universities in mainland China, together with ten university music teachers from two universities in Hong Kong. From the questionnaire survey findings, three major issues were identified by teachers and considered critical to informing their beliefs and pedagogies when teaching music: (1) the correlation between teachers’ beliefs and pedagogy, (2) perspectives and pedagogic strategies toward affective response in music listening and learning, and (3) the factors influence teachers’ beliefs and pedagogies. Phase II aims to explore what the teachers’ actually teaching and the influences upon teachers’ belief and pedagogy towards affective responses

Critical thinking is regarded as a higher-order thinking skill, which is important in developing a comprehensive competency in modern times. Nurturing children’s critical thinking at an early stage thus becomes an essential target that should be pursued by all school teachers. Facing such a trend, the Education Bureau of Hong Kong started to reform the school curriculum in 2000 in order to develop students’ generic skills through eight Key Learning Areas (KLA), one of which is Arts Education that includes Music. Nine generic skills, including critical thinking, have been identified that should be nurtured through all KLAs. Published in 2003, the Music Curriculum Guide (Curriculum and Development Council, 2003) proposed four learning targets for music. Among all, cultivating critical responses in music is the target achieved by the integrated learning activities of creating, performing and listening. Nevertheless, there are very limited studies investigating the extent to which current primary music teachers can nurture students’ critical thinking in Hong Kong. Furthermore, Hong Kong music teachers may not be capable of developing students’ critical thinking through these integrated activities. This study aims to examine the current situation of cultivating critical thinking in music in Hong Kong’s primary schools and explore how critical thinking skills can be effectively developed. A questionnaire, interviews and class observation were used to collect data for current situation of nurturing critical thinking skills in primary music lessons. The results of the study demonstrate a positive indication of the acceptance of and beliefs in the implementation of critical thinking skills in Hong Kong primary teachers. Difficulties are found that impeded the effectiveness of the implementation, namely, teachers’ professional commitments by using critical thinking skills, teachers’ understanding of and abilities for the implementation, students’ involvement and differentiation

Hong Kong has publicly declared its intention, via its cultural policy, of becoming an international cultural metropolis. This has been matched, on the part of its educational reforms, by a commitment aimed at ensuring that students are fully prepared to meet the multifarious work and life challenges of the future. Forming a potential bridge between the two sectors is arts education, formally recognised as fostering the necessary skills of appreciation, creativity and expression and of enriching the cultural literacy of individuals and society, thereby providing the soil, nutrition and impetus for cultural development. This study adopted the analogy of cultural policy and arts education policy as the two wings of the same bird which, when working in unison, have the power to yield rewards at both a sectoral and at a stakeholder level through the occurrence of mutually-beneficial synergies, in order to investigate the degree to which this was presently taking place. Via an ecological research perspective characterised by a focus on the layers of interconnectedness and interrelatedness among the various stakeholders within and across Hong Kong’s cultural and arts education sectors, the methodology drew on the salient features of both the “ecological worldview” and the “interdisciplinary and transdisciplinary” types to more fully understand perceptions as they related to the policies’ fundamental elements of “conceptualisation”, “communication” and “operationalisation”. As a means of answering the three research questions guiding the study, the data gathering and analysis stage was concerned with the collection of the relevant policy documentation, an online cultural and arts education policy questionnaire, and a series of semi-structured, in-depth interviews. The findings revealed that while evidence exists of a variety of intra- and inter-sectoral partnerships, this is not being matched by a strategic vision at a policymaking level that clearly demonstrates how such collaborations

This study investigates the acquisition of English word stress by ESL learners in Hong Kong, and assesses the efficacy of unlimited access to an online pronunciation tutoring programme. Twenty learners in foundation English language classes at the university level were recruited to participate in this study. Ten students were given an online programme as a supplement to a 30-hour English course, and were requested to practice on their home computers. Their development in spoken English was compared with a control group of ten students who did not use the online resource. The online programme My ET was evaluated according to Chapelle’s (2001) six criteria for CALL assessment. The learners were pre- and post-tested by two experienced raters of pronunciation. A questionnaire was then distributed to inquire into the pronunciation learning experiences and attitudes towards the online learning. Results indicate that the online pronunciation tutoring was fairly effective in improving the ESL learners’ ability to produce and perceive correctly different stress patterns in words, phrases, and sentences, and that students also had a positive attitude towards online pronunciation instruction and activities. The findings also reveal that practice with the programme was beneficial to those students who began the course with a strong foreign accent, but it was of limited value to students who began the course with better pronunciation.
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Children are expected to read and write Chinese character before they reach their formal schooling in Hong Kong. The 4 to 6 years old children, *non-Chinese speaking (NCS) and native Chinese speaking children are given similar Chinese writing exercise in the preschools. Nevertheless NCS children are still affected by the differences between their mother language and Chinese. NCS children are more likely to encounter difficulties in writing and reading Chinese. According to the past research reports, the NCS students in Hong Kong who enter a mainstream primary school (Chinese medium instruction), their levels of literacy in Chinese tends to remain at a low level, and they are unable to keep up with local Chinese classmates. The aim of the study is to focus on how NCS children who are 5 to 6 years old learn Chinese characters in a realist classroom setting. The study will be conducted in three Chinese preschools in Hong Kong and investigate the teaching and learning of Chinese characters in five classroom settings using with a phenomenographic approach.

This study set out to use phenomenography as a theoretical framework to investigate teaching in classrooms, focusing on how the same object of learning was enacted differently in different teaching activities. We observed in person teaching activities intended to teach children to recognize Chinese characters (i.e. the object of learning) in Hong Kong preschools. Classroom observational data such as the delivery of the teaching activities and the conversation between teacher and children were used as the main data source. Three categories of teaching activities were identified from the data, which correspondingly reflected three ways of seeing the recognition of characters: (A) recognition as matching items, (B) recognition as imitating behaviors, and (C) recognition as constructing meanings. The results of this study were useful for fostering the professional learning of preschool teachers in practical ways. As teacher educators, we were particularly interested in the learning of teachers; thereby in the study we chose to investigate teaching from the perspective of learning to teach. We assumed that the ways teachers acted in enacting the object of learning reflected how they saw the object of learning. We hope to foster more discussion and in turn contribute to the methodology of phenomenography.