A fundamental objective of Hong Kong in the 21st century is a vision of itself as an international cultural metropolis. This sits within a wider culture of change initiated by the comprehensive educational reforms launched in 2000, all aimed at preparing the future workforce for the challenges of the new millennium by encouraging students to take the learning initiative while simultaneously nurturing in them the ability to think and create. At the same time Hong Kong, at both an educational and at a wider, societal level, is a high-stakes, results-based environment generated by a culture of assessment. It is within this context that the article uses Music (through its traditional espousal of cultural values) as a "barometer" of the present climate to report the findings of a survey of Hong Kong secondary students in an attempt to gauge, and consequently articulate, the place of this particular subject within the curriculum. The subsequent confirmation that the cultural aims of the HKSAR are at odds with a mindset which is essentially commercial at heart reveals more than a simple mismatch in 2 terms of drivers: the wider implication that, in real terms, little has effectively changed in the past decade is a finding which clearly has important repercussions. Hinting that a "back to basics" tripartite process of rethinking, reevaluation and reorientation may well be required in order to help ensure that Hong Kong successfully realizes its ongoing policy goals, the article concludes with some suggestions of its own for the various relevant stakeholders.
[Copyright © The Hong Kong Institute of Education].

If drama is to work as a technique for language education, it needs to work as drama, but in Hong Kong, the objectives of each lesson must be language objectives. This implies that we need intermediate objectives, process objectives, to make drama work for language education. This article examines two previous models of drama in language education, drawing imagination, aesthetics and emotion from them as process objectives. It is proposed that all three should be used in a single complex model. This study focuses on a course that presented this three-part model to student teachers, examining survey and interview data together with their essays for the course. Student teachers find the model to be usable in practice. Obstacles arise from the school system, however.
[Copyright © The Hong Kong Institute of Education].

Mentoring has long been recognized as an effective approach in the professional development of teachers since it combines career advancement and psychosocial development (Kram, 1988). While a body of mentoring research in music education focusing on professional development exists (Benson, 2008; Conway, 2008; Haack, 2006), there is little evidence that the benefits arising from the process have been recognized or acted upon at the governmental level. Through the collection and analysis of quantitative and qualitative pre-, present- and post-case study data from a three-year school-based mentoring program in Hong Kong, this paper examines how the effective delivery of the music curriculum in early childhood education can be enhanced by the implementation of mentoring in helping to ensure the long-term professional development of its participants. The findings indicate the inadequate amount of training and preparation for kindergarten teachers in Hong Kong to adequately deliver a multifaceted music curriculum, and the mentor could fulfill the role of a music specialist. As a reference source for those considering the implementation of similar programs within their kindergarten settings, the findings can have applications across different subject areas, providing a practical perspective on the implications for sustained delivery as it pertains to novice and veteran teachers alike. To this end, a number of considerations as they relate to the research objectives – along with practical recommendations for the various stakeholders involved within early childhood education – are also discussed.
[Copyright © 2010 HKIEd APFSLT.]

There have been many claims about the benefits that the use of technology can bring to music learning. In fact, examples of successful applications and high levels of motivation associated with computer-based music learning reported in the literature have evidentially substantiated both the feasibility and adaptability of technology applications to music education. This paper describes the experience of Information and Computer Technology (ICT) integration in primary school music education in countries where both pioneering and relatively advanced developments have taken place. A comprehensive study of related literature and curriculum documents has been undertaken, aspects including major software programs development for music education and its pedagogical orientation, hardware configuration and classroom organization, applications of ICT in music teaching and learning, requirements for curriculum, hardware and software, and technology competency requirements and related professional development for music teachers are studied. Findings from the literature reviewed and documents analyzed reveal that ICT can best support constructivist approach to music learning, particularly activities of creative nature such as composing, improvising and creative music making; in addition, resource and related circumstantial factor as well as music teacher‘s readiness were found to be the most influential factors of successful ICT integration. Coupled with these findings, conclusion and implications for ICT integration in primary music curriculum in Hong Kong are then drawn and discussed.
[Copyright © 2010 HKIEd APFSLT.]

This paper examines the field of art education for young children in Hong Kong with a focus on the curriculum policy. A number of researchers have found that effects of cultures on the conceptions and understanding of art education for young children and its values are significant in their process of formation (e.g., Duncum, 2000, 2002; Freedman, 2000; Gardner, 2004; Green, 2000; Piscitelli, 1999; Piscitelli, Renshaw, Dunn & Hawke, 2004; Schirrmacher, 2001; Wright, 1991, 1997, 2003). This paper has applied the framework of the three orientations from Efland (1990), i.e. expressionism, reconstructionism and scientific rationalism in the analysis of Hong Kong curriculum policy documents and found that contradictions in terms of principles and practices are embedded. It is argued that these hidden but value-loaded assumptions about theories and practices in early childhood education and art education should be made explicit both in the formation of the policies and their implementation in schools if success is expected.
[Copyright © 2009 HKIEd APFSLT.]

At the beginning of the third millennium, education reforms come to a forefront in both China and Hong Kong. The two regions had undergone different political systems in the past: various parts of China have been under the influences of different countries since the mid-nineteenth century and became a communist country since 1949; while Hong Kong was a British colony from 1842-1997. Both experienced Western influences in culture and education, and currently are facing challenges of globalization with regard to educating their future generations. This paper focuses on the development of music education in relation to traditional Chinese music in China and Hong Kong in the past century, and examines the recent music curriculum changes in China in order to establish a direction for the ongoing music education reform in Hong Kong. The study pinpoints the rationale for the study, the historical aspect and impact on music education in China and Hong Kong, the ongoing reforms on music education in both regions, and recommends a direction for a possible change in the music curriculum in Hong Kong. The suggestions could also be adapted for change in other Asian countries.
[Copyright © 2003 The Hong Kong Institute of 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.]

Following the education reform in 2001, the Education Bureau (EDB) in Hong Kong initiated a review of early childhood education (ECE) in 2006. The main focus of this review is the quality assurance mechanism for ECE, including the training of teachers, teaching quality, the potential pressures on teachers to upgrade their qualifications etc. This review is supported by the Chief Executive’s Policy Address (2006), which outlines concrete ways to achieve the targeted goals. This paper compares the provision of music training at four major ECE professional teacher-training institutions and examines the perspectives of in-service teachers, principals and early childhood education lecturers on the music training of ECE teachers. Using focus group interviews and survey, in-service ECE teachers expressed their general satisfaction with their pre-service training in music teaching. However, they did not feel prepared and confident enough to teach music in their schools compared to other subjects. They suggested aspects of pre-service training which would have better prepared teachers to teach music and identified three areas of professional development needs of ECE teachers in music teaching. A practical framework of professional development is also presented.
[Copyright © 2007 The Hong Kong Institute of Education.]

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.]

At the turn of the 21st century, the governments of Hong Kong and Taiwan initiated curriculum reforms, which aimed to expand children's arts experience, develop their generic skills and connect their knowledge in and through the arts. In Taiwan, the arts curriculum adopts an integrated design while in Hong Kong, it adopts an integrative learning approach that connects not only the arts, but also other Key Learning Areas. Working with tertiary institutions, the Taiwanese Government has provided an advisory group and other resources to prepare teachers for an integrated arts curriculum. Although the Hong Kong Government co-organised projects with tertiary institutions and the community, and commissioned a professional development course for primary school teachers, secondary school teachers seemed to be neglected. This paper compares official curriculum frameworks and their implementation, primary textbooks and teacher preparation among the two programmes. Many challenges are identified, and recommendations, such as increased collaboration among stakeholders and research on various integration approaches, are offered. It is hoped that these recommendations will help the successful implementation of the integrative /integrated arts curriculum in both places, as well as other parts of the world.
[Copyright of Asia-Pacific Journal for Arts Education is the property of Hong Kong Institute of Education.]