Bo Wah Leung

A Framework For Undertaking Creative Music-Making Activities In Hong Kong Secondary Schools

Present research provides strong support for the use of creative activities such as composing in school music programmes based on evidence that learning music is more effective when students are exposed to authentic, experiential learning activities. Based on this premise the purpose of this study was to address the need to explore methods and skills necessary for incorporating music composition in Hong Kong schools given that this dimension of music teaching generally receives little attention from music teachers. A group of eight in-service music teachers were asked to design their own creative projects that were taught during a four-week Teaching Practice session. Field notes of observations and video recordings were analysed, which resulted in ten teaching strategies being identified according to four components of creativity: task motivation, domain-relevant skills, creativity-relevant processes, and metacognition. It is suggested that these components of creativity provide a framework that Hong Kong music teachers can use when implementing creative music activities in their classrooms.Present research provides strong support for the use of creative activities such as composing in school music programmes based on evidence that learning music is more effective when students are exposed to authentic, experiential learning activities. Based on this premise the purpose of this study was to address the need to explore methods and skills necessary for incorporating music composition in Hong Kong schools given that this dimension of music teaching generally receives little attention from music teachers. A group of eight in-service music teachers were asked to design their own creative projects that were taught during a four-week Teaching Practice session. Field notes of observations and video recordings were analysed, which resulted in ten teaching strategies being identified according to four components of creativity: task motivation, domain-relevant skills, creativity-relevant processes, and metacognition. It is suggested that these components of creativity provide a framework that Hong Kong...

Teachers’ transformation as learning: Teaching Cantonese opera in Hong Kong schools with a teacher–artist partnership

The Hong Kong Government has advocated teaching Cantonese opera in the school music curriculum to promote Chinese culture education. This longitudinal study aims to examine how and why teachers transform within 3 years in learning and teaching Cantonese opera with a teacher-artist partnership approach in schools. Five primary and two secondary teachers collaborated with a Cantonese opera artist to teach the genre for 8 weeks in 2008. With reference to the Transformative Learning Theory, two rounds of interviews with teachers in 2008 and 2011 were carried out to investigate the extent they had transformed in relation to teaching Cantonese opera. Informational learning from the partnership and self reflection in sufficient time are the main attributes in teachers’ transformation. It is implied that music teachers may reinterpret their old experience of learning the Chinese music with the assistance of relevant experts in order to make new meaning of their perception on music education.

Students’ motivation to study music: The mainland China context

Entering the new century, China has gradually increased her participation in international affairs. Education is regarded as a crucial issue in strengthening the country in the long term. Music education in mainland China has been facing a reform with reference to recent global trends. However, students’ motivation in relation to learning music in schools has not been widely studied. This article reports data drawn from an international study which examined students’ motivation to study music as compared to other school subjects across the school grades. A total of 2,750 students from three middle schools and four high schools in Beijing responded to a questionnaire. Results indicated that the task value of learning music to Chinese students is significantly lower than other school subjects. Students’ expectancy in learning music declines while their perceived difficulties in learning music rise across the school levels. However, their interest in learning music also rises across the school levels.Entering the new century, China has gradually increased her participation in international affairs. Education is regarded as a crucial issue in strengthening the country in the long term. Music edu...

Transmission of Cantonese opera in the conservatory tradition: two case studies in South China and Hong Kong

The Cantonese opera was traditionally transmitted by an apprenticeship approach, which has faded out in the mid-twentieth century. Instead, the conservatory approach adapted from the West has replaced the major mode of nurturing professional artists in China and Hong Kong. This study aims to investigate and examine the current practice of the conservatory approach in nurturing professional artists for the field of Cantonese opera. Two institutions from South China and Hong Kong were the subjects of this case study with observation and interviews as research tools. A cross-case analysis reveals that modern institutions have transformed the transmission mode of the traditional genre. While concentration on formal learning in the conservatory tradition may lead to efficient training, advantages from informal and non-formal learning adopted by the apprenticeship approach are abandoned. An eclectic approach is implied for improvement in nurturing professional artists for the Cantonese opera.

A survey of rural primary school music education in Northeastern China

China has been instituting national basic education curriculum reforms since 2001. This study provides an updated understanding of present-day, rural primary school music education in Northeastern China’s Tonghua region. A total of 126 rural primary music teachers and 674 students from 28 primary schools in the region were surveyed using a questionnaire. In addition, teachers were interviewed about the factors responsible for the current situation. The findings reveal that primary music education in the rural areas of North-east China is suffering from a number of problems including the inadequate provision of resources by local government, teachers’ lack of professionalism in terms of music education, and an inadequate understanding of the new curriculum reforms and rationales. The measures recommended to improve the current situation in the region may also provide insights that would prove useful for global consideration.

A survey on Weifang teachers' attitudes toward teaching Chinese folk music

In mainland China, the implementation of the junior secondary school’s music curriculum is highly dependent on music teachers’ attitudes towards music and music education. This study investigated the possible relationship between teachers’ attitudes towards teaching Chinese folk music and their music teaching practice in junior secondary schools in Weifang, China. A total of 72 secondary school teachers responded to a questionnaire regarding their attitude towards teaching Chinese folk music and their perception of students’ attitudes to learning the genre. Six semi-structured interviews with voluntary teachers were conducted to explore the constraints of teaching Chinese folk music. Findings indicate that most respondents have a positive attitude towards teaching Chinese folk music although they spent limited time teaching the genre. Teachers’ attitudes are not only related to their personal musical preference and students’ responses, but are also shaped and modified by the educational context of China, including music teachers’ professional training, teaching responsibility, and the needs of the job market. Promoting Chinese music through education requires both music teachers and teaching policy makers to have an appropriate understanding of Chinese folk music which should not be supplementary to the main content; rather, it should be an imperative part of the music curriculum. Learning Chinese folk music is beneficial for nurturing students’ musical identities. Balancing the ratio of Western classical music and Chinese folk music in music classes is helpful in cultivating students’ multicultural perspectives.

Creative Arts in Education and Culture

Preface by Samuel LEONG, Bo-Wah LEUNG.- Acknowledgements.- Contributors.- Part I: Overview. 1. Creative Arts, Education, and Culture in a Global Perspective by Patricia Shehan CAMPBELL. 2. National Acts for Transmission of Chinese Culture and Heritage in Arts Education by Shengian GUO. 3. Cultural Policy and the Development of Local Cultures in Hong Kong by Samuel LEONG.- Part II: The Arts and Culture in Education. 4. Aesthetic Creativity: Bridging Arts, Culture and Education by Jo Chiung Hua CHEN, Hong An WU. 5. Theoretical Foundation for Spirituality Oriented Holistic Art Education: Integration of Eastern and Western Aesthetics by Feng-Jung LIU. 6. The New Awareness of Canto-jazz in the Jazz Arrangement Project by Chi Wai Jason CHEN. 7. Popular Visual Culture in Art Education: A Group Creativity Perspective by Chung Yim LAU. 8. Music Composition Education in Hong Kong by Chi Cheung LEUNG. 9. Transmission of Xibo Music Culture in Northwest China: Development of School-based Curriculum by Aiqing YIN, Yajie BO, Bo-Wah LEUNG. 10. Teaching Traditional Music Teaching in Mainland China by Yanyi YANG.- Part III: Issues of Cultural Transmission and Transformation. 11. Transmission and Transformation of Cantonese opera in Hong Kong: From School Education to Professional Training by Bo-Wah LEUNG. 12. Sun Tzus The Art of War for Choral Leadership by Paulina Wai-Ying WONG. 13. Transmission and Education of Hakka Folk Songs in Hong Kong: Distinctiveness and Commonality among Local, National, and Global Contexts by Rita YIP. Living Traditions: Educational Issues and Practices of Indigenous Art in Taiwan by Yuh-Yao WAN. 14. Creative Music Culture through Vernacular Songs for Education by Different Generations by Sheung Ping LAI. 15. Condensation of Ritual Symbolism and Visual Culture: From Chinese Liqi to Contemporary Art Expressions by Anissa FUNG. 16. The Indigenous Culture of Chaozhou Xianshi Music and Diaspora Musicians in Hong Kong by Annie On-Nei MOK

Transmission of Xibo Music Culture in Northeast China: Development of School-Based Curriculum

It has been 246 years since Xibo migrated southerly to Yili of Xinjiang Province. Xibo developed its own traditional music culture through inheritance, renovation, assimilation and compromise with Han, Wei, Hui, Kazak, Russia and other nations. The aim of this chapter is to report an exploration on how ethnical music is inherited in schools’ music education, through a cases study of Xibo school-based music curriculum; collaborative development of music textbooks with the local music faculties; gathering up to 53 folk songs, eight instrumental pieces of Dongbuer, and six dance forms. To a certain extent, these works promotes the heritage of Xibo music culture in school education.

Transmission and Transformation of Cantonese Opera in Hong Kong: From School Education to Professional Training

Cultural and national education through formal schooling has been encouraged since the return of Hong Kong to Chinese sovereignty in 1997. Consequently, Cantonese opera has been incorporated into different school subjects such as Chinese Language, General Studies, and Music. Extra-curricular classes in Cantonese opera have been conducted both inside and outside of schools. However, the transmission of Cantonese opera has been considered at risk since master artists have faded out from the stage, with the new generation struggling to continue the craft. Furthermore, few young individuals have been observed demonstrating support and appreciation for the genre by attending performances. Recognized as an “intangible cultural heritage” initiated by the Hong Kong government, Cantonese opera has implanted its cultural and artistic position since the early twentieth century. This chapter addresses four issues related to the transmission and transformation of Cantonese opera in Hong Kong: (1) nature of and attributions to the difficulties in transmission; (2) process of nurturing future audience through school education; (3) transmission from the master artists to the young performers; and (4) linkage among school education, professional training, and the cultural contexts of Hong Kong.