DATA FINDINGS &

DATA ANALYSIS

This research refers to those songs, repertoires of music appreciation and introduced musicians bearing cultures which identify them as

• (a) Western cultures;

• (b) Chinese cultures and

• (c) Other cultures.

Musically, • this implies that these musical works or musicians have their musical

characteristics of their own cultures.

• Geographically,• this implies they have their own regional characteristics of cultures.

Table 6 Research Procedures Based on Bereday Modified Model

Stage 1Description

Collection of Data

1. the gathering of statistical data as well asinformation from the selected textbooks

undertaken in each placeAreaStudies

Stage 2Interpretation

Interpretation of Data

2. the background leading to these results themajor features characterize the different result

in respective places

Stage 3Juxtaposition

Matching Data and Formulation of Questions

3. in what ways and patterns the four textbooksfrom the two countries are similar to or differ

from one another, with respect to cultural contents

ComparativeStudies

Stage 4Comparison

Simultaneous Comparison

4. compare and contrast with reference to thecultural contents from each textbook

5. by rotation and fusion to answer the abovequestion

Adopted from Yu (1996). Bereday Modified Model.

( I ) Stage of DescriptionTable 35 Frequency & Percentage of Each Musical Area in Different Cultures

within Textbooks

Musical Area Song MusicAppreciation

Musician

Names of Textbooks

Cultures

A B C D A B C D A B C D

Western Cultures (%)90

(66.18)92

(58.23)26

(26.00)39

(36.44)44

(51.76)56

(43.08)38

(49.35)28

(59.57)34

(89.48)21

(75.00)41

(54.67)41

(45.56)

Chinese Cultures (%)25

(18.38)44

(27.85)67

(67.00)65

(60.75)37

(43.53)68

(52.30)30

(38.96)16

(34.04)2

(5.26)5

(17.86)29

(38.67)46

(51.11)

Other Cultures (%)21

(15.44)22

(13.92)7

(7.00)3

(2.81)4

(4.71)6

(4.62)9

(11.69)3

(6.39)2

(5.26)2

(7.14)5

(6.66)3

(3.33)

Total (%)136

(100)158

(100)100

(100)107

(100)85

(100)130

(100)77

(100)47

(100)38

(100)28

(100)75

(100)90

(100)

0

10

20

30

40

50

60

70

80

90

100

A B C D

Western Cultures

Chinese Cultures

Other CulturesFrequency of Song in Different Cultures within Textbooks

0

10

20

30

40

50

60

70

A B C D

Western CulturesChinese CulturesOther Cultures

Frequency of Music Appreciation in Different Cultures within Textbooks

0

10

20

30

40

50

A B C D

Western Cultures

Chinese Cultures

Other Cultures

Frequency of Introduced Musician in Different Cultures within Textbooks

0

10

20

30

40

50

A B C D

Medieval & Baroque

Classical

Romantic

Contemporary

Frequency of Introduced Musicians in Different Periods within Textbooks

Table 18 Frequency & Percentage of Melody with Foreign Lyrics

A B C D

Textbooks

Lyrics 1 2 3Sub-

total1 2 3

Sub-

total1a 1b 2 3

Sub-

total1 2 3

Sub-

total

No. of Foreign Melody with

Chinese Lyrics (%)

19

(41.30)

21

(42.86)

19

(46.34)

59

(43.38)

15

(29.41)

29

(50.00)

19

(38.78)

63

(39.87)

6

(27.27)

6

(27.27)

5

(21.74)

8

(24.24)

25

(25.00)

8

(21.05)

12

(31.58)

10

(32.26)

30

(28.97)

No. of Foreign Melody with

English Lyrics (%)

20

(43.48)

16

(32.65)

16

(39.02)

52

(38.24)

13

(25.40)

23

(39.66)

15

(30.61)

51

(32.28)

1

(4.55)0 0 0

1

(1.00)

1

(2.63)0

2

(6.45)

3

(2.80)

No. of English Melody with

Chinese Lyrics (%)

15

(32.61)

10

(20.41)

10

(24.39)

35

(25.74)

11

(21.57)

8

(13.79)

10

(20.40)

29

(18.35)

1

(4.55)

2

(9.09)0

4

(12.12)

7

(7.00)

4

(10.53)

2

(5.26)

4

(12.90)

10

(9.35)

No. of Foreign Melody with

Original Lyrics (%)0 1J 0 0 0 1J, 2G 1G 3 0 1I 0 0 1 0 1F 0 0

Total Number of Songs (%)46

(100)

49

(100)

41

(100)

136

(100)

51

(100)

58

(100)

49

(100)

158

(100)

22

(100)

22

(100)

23

(100)

33

(100)

100

(100)

38

(100)

38

(100)

31

(100)

107

(100)

J: Japanese

G: German

F: French

I: Italian

0

10

20

30

40

50

60

70

A B C D

No of Foreign Melody with Chinese Lyrics

No of Foreign Melody with English Lyrics

No of English Melody with Chinese Lyrics

No of Foreign Melody with Original Lyrics

Frequency of Melody with Foreign Lyrics

Combinations No. of Songs (%)A-B 38 (50%)C-D 21 (27.63%)A-D 3 (3.95%)A-C 2 (2.63%)B-D 3 (3.95%)A-B-C 2 (2.63%)A-B-D 2 (2.63%)B-C-D 1 (1.32%)A-B-C-D 4 (5.26%)Total 76 (100%)

Combinations of Common Songs within Textbooks

Combinations No. of Repertoires (%)A-B 25 (43.11%)C-D 2 (3.45%)A-C 4 (6.90%)B-C 6 (10.34%)B-D 3 (5.17%)A-B-C 4 (6.90%)A-B-D 5 (8.62%)B-C-D 3 (5.17%)A-B-C-D 6 (10.34%)Total 58 (100%)

Combinations of Common Music Appreciation within Textbooks

(III) Stage of Juxtaposition

• IIIA Similarities and Differences

in Song in the two places

A higher percentage of Western cultures and

Other cultures is found in textbook sets A and

B from Hong Kong than sets C and D from

Taiwan.

• Conversely, there is a higher proportion of

Chinese cultures in songs. The percentage of

songs from Chinese cultures is much higher

in sets C and D than in A and B

Songs from both places from Western cultures

mainly come from the USA

• The second and third most chosen countries for Hong

Kong textbooks are Britain and Austria Whereas, the

second and third most chosen countries from

Taiwanese textbooks for songs are Germany and Italy

• These results prove that both places are influenced by

the USA socially, economically and politically after

World War II.

Songs from both places in terms of specific region of Chinese cultures mainly originate from Taiwan

• This can be explained by the influence of Taiwanese popular and folk music on Hong Kong in recent years.

• On the other hand, due to social and political factors, Taiwan strongly promotes her local culture

• Therefore, the songs of Chinese cultures from both places are mainly selected form Taiwan.

However, textbooks from Hong Kong also selected

many songs from different regions of Chinese

cultures, e.g. Hong Kong ,Yunnan and Xinjiang

• Songs originated from these regional Chinese cultures

are seldom selected by the publishers of Taiwanese

textbooks. • Having said that, one can understand the greater need

and opportunities of Hong Kong to understand mainland Chinese cultures sincere Hong Kong is now an integral part of China. Hong Kong has a higher diversity in choosing songs from regional Chinese cultures than Taiwan.

Songs from Hong Kong textbooks under

Other cultures mainly from Russia and Japan.

• This can be explained by the long-standing

and close relationship between Russia and

China. The influence of Japanese music on

Hong Kong people, especially youngsters,

cannot be overlooked.

This is why a rather large number of songs form

Russia and Japan are included in Hong Kong

textbooks. In contrary, due to the concentration

on local cultures, few songs from Other cultures

are included in Taiwanese textbooks.

• The highest percentages of common songs

amongst the four sets of textbooks are A with B

and C with D . It is good to observe that every

regional textbook (Hong Kong and Taiwan, in this

case) can reflect its regional culture in a certain

degree.

All foreign melodies with Chinese

lyrics ,foreign melodies with English lyrics

and English melodies with Chinese lyrics have

higher percentages in Hong Kong textbooks

than those from Taiwan.

• Especially, the biggest difference can be seen

in foreign melody with English lyrics.

The reasons are,• first, Hong Kong focuses more on Western

cultures and therefore more foreign melodies

as well as English melodies are chosen by

Hong Kong publishers.

• Second, Hong Kong pays attention on both

the English and the Chinese languages,

especially during the transitional period 1997

and therefore, English and Chinese lyrics

have equal importance.

Third, Taiwan focuses more on Chinese

cultures and therefore, fewer foreign and

English melodies are included in Taiwanese

textbooks.

• Fourth, English is not the second language

of Taiwanese students and as a result, there

is a smaller number of songs with English

lyrics found in Taiwanese textbooks.

That is, an extremely low percentage of

foreign melody with original lyrics are

included in the textbooks.

• This is due to the fact that Hong Kong and

Taiwan are both mainly Chinese societies.

Few secondary schools students learn and

understand foreign languages (other than

English language, in the case of Hong Kong).

This phenomenon can be shown similarly by

extremely low percentages of students who sit

for foreign languages in public examinations

in both Hong Kong and Taiwan.

• Therefore, original foreign lyrics are not

encouraged to be placed in textbooks from

both Hong Kong and Taiwan.

Taiwanese publishers like to include many original

compositions, songs whose both melodies and lyrics are

written by contemporary local Taiwanese composers or

lyrics writers in the textbooks. • The Taiwanese government also strongly encourages their

musicians to introduce their works in the music textbooks.

• But, by contrast, few Hong Kong local compositions are

included in textbooks.

• Also, Hong Kong has not encouraged its musicians to compose

local musical works.

• It can be seen that there is a great difference between the

promotion of local musical compositions between the two places.

IIIB Similarities and Differences in Music Appreciation in the two places• The percentages of repertoires of music

appreciation in Western cultures ,Chinese

cultures and Other cultures are nearly the

same in all four sets of textbooks .

The ratio of repertoires from Chinese and

Western cultures is about the same; there is no

bias on Western or Chinese cultures.

• Nevertheless, the number of repertoires

from Other cultures are comparatively very

small .

Both places choose the repertoires of music

appreciation from Western cultures from

Germany and Austria .

• Music from these two countries is commonly

termed Classical music and also it constitutes

the most dominant part of music appreciation

repertoires in Western cultures.• This is one reason why the percentages of these

repertoires among Western cultures are high in both Hong Kong and Taiwan.

There is a high diversity of appreciating

different regional Chinese music in Hong

Kong textbooks rather than only focussing on

local Taiwanese regional music in Taiwanese

textbooks .

• This is, again, due to social and political

facts that Taiwan would like to promote her

own local culture rather than specific

regional Chinese cultures.

Only Russian repertoires of music

appreciation under Other cultures are included

in textbooks from both places, Hong Kong and

Taiwan.

• It can be said that although both places are

eager to promote the recognition of different

cultures, in fact, other non-Western cultures

are seldom mentioned.

The highest combination of common

repertoires among the different kinds of

combinations of common repertoires is

textbook sets A with B .

• This shows that the publishers of the two

Hong Kong textbooks select a large amount

of common repertoires.

Also, the high percentage of common repertoires among

the two Hong Kong textbooks reflects that they are

influenced by the same cultural background.

• Textbooks from both places like to include instrumental

listening repertoires instead of vocal listening repertoires in

music appreciation.

• The genres of works are varied from solo and small

ensemble to large choral and symphonic works.

• The listening repertoires in all four sets of textbooks from

Western cultures are normally selected from the most

famous classical musicians, for example, Bach, Beethoven

and Mozart.

However, all of four sets of textbook have

seldom mentioned contemporary Western

musicians.

On the other hand, besides, the listening

repertoires characteristics traditional

Chinese cultures are mentioned by

textbooks from both places, textbooks from

Taiwan also introduce listening repertoires

characteristics of the local culture,

• for example, little opera (歌仔戲 ), little

mixed opera (雜唸仔調 ) and Taiwanese

local folk songs sung in Minnen or Hakka

local dialects.

By contrast, textbooks from Hong Kong

rarely introduce Hong Kong local cultures in

listening repertoires.

• Also, textbooks from both places little

mention the instrumental works from

contemporary local musicians.

Huang Zi (黃自 ) is the only Chinese

composer whose works are highly regarded

by all four sets of textbooks.

IIIB Similarities and Differences in Introduced Musician

Higher percentages of musicians from

Western cultures is introduced by Hong

Kong textbooks.• Conversely, higher percentages of musicians from

Chinese cultures are introduced by Taiwanese

textbooks.

• Moreover, Taiwanese textbooks introduced more of their local musicians than Hong Kong ones .Both Hong Kong and Taiwanese textbooks little mentioned about musicians from Other cultures .

Musicians who are introduced by all four sets

of textbooks are commonly from the Romantic

period or the Contemporary period .

• Specifically, a higher percentage of

contemporary musicians are introduced by

Taiwanese textbooks .

Hong Kong focuses on Western music so that

a lot of composers of Western music are

introduced.

• Conversely, Taiwan focuses on her local

music and therefore a lot of Chinese

(Taiwanese) composers, especially those in the

contemporary period, are introduced by

Taiwanese textbooks

.

General Question Raised after Juxtaposition

The previous sections mentioned critically

what extent and nature of different

cultures affect the music textbooks from

Hong Kong and Taiwanese secondary

schools through examining the songs,

repertoires of music appreciation and

introduced musicians.

Textbooks from Hong Kong seems to

introduce and are influenced much by

Western cultures.

• On the other hand, those from Taiwan

strongly emphasize her local culture and

also on Chinese cultures as a whole.

• In addition, textbooks from both places are

not keen on introducing Other cultures.

Why does this phenomenon show

in music curricula and is

reflected in those textbooks?

( IV ) Stage of Comparison

• the cultural content from each textbook set

is compared and contrasted.

• Attempt to answer the question raised in the previous section by rotation and fusion.

A Comparison of Cultural

Contents from Music

Textbooks in Hong Kong and

Taiwan

In a comparison with Taiwan, the cultural

content of Hong Kong textbooks mainly

comes from the Western world. • The nature and extent of cultural content can be

seen to reflect the culture of present society.

• The Western cultural content in textbooks

seems to give an image that Hong Kong is

more ‘international’.

• But this is vague and wrong!

The Western cultural content mainly comes

from several Western countries, for example,

the USA and Britain

• This condition is similar to a local scholar who

cited this decision as a British conspiracy

imposing an outdated British model of

education on the future of Hong Kong SAR for

the purpose of extending British influence until

2047 (Leung 1996: 269).

In addition, since Hong Kong only pays

attention to a few Western countries, how can

it be said that Hong Kong is a truly

cosmopolitan city (fusion of cultures) and is a

place to promote international understanding

and respectfulness of different cultures ?

The low tendencies for the Hong Kong publishers to

introduce Chinese cultures and even more so, the

extremely low tendencies to introduce local Hong Kong

cultures • may make one to believe that Hong Kong people are not proud of

their Chinese cultural heritage and their cultural identity is

ambiguous.

• This is in opposition to what the Hong Kong Government wishes

to promote.

• The Government tries to revise the content of the curricula in

order to encourage pupils to understand and appreciate their

Chinese cultural heritage, as well as the working of the political

and economic system in the PRC Now, insufficient emphasis is put

on developing the pupil’s identification with and pride in Chinese

cultures.

Moreover, extremely few local musical

products, for example, Canto-pops,

contemporary musical compositions by local

musicians or local musicians are introduced in

textbooks.

• Therefore, this creates an ambiguous cultural

identity.

• As a result, the cultural identity of Hong Kong

students may be neither Chinese nor Western

(White 1997: ix).

It is clear that the cultural content reflected in

textbooks fits the general pattern concluded by

Leung, who summarized the literature on the

discussion of the nature and impact of colonial

education.

Leung said that among the stereotyped

accusations of colonial legacies are the creation of:

• (a) a privileged, Westernized elite divorced from the

aspiration of the indigenous majority, especially the

rural masses;

• (b) citizens unsure of their real identity or caught

between two cultures;

• (c) a belief system hostile to the indigenous culture,

such as a Eurocentric and

• (d) a ‘culture of silence’ with low political aspirations.

The above phenomenon is reflected by the nature and

extent of cultural content in the Hong Kong textbooks

examined.• First, Western cultures dominates the content; extremely rare mention

is made to local Hong Kong/Chinese music, especially the rural music

by Punti, Hakka and Tenka villagers.

• Second, the relatively few mention of Chinese cultures may result in

‘bu Zhong bu Xi’ (neither Chinese nor Western).

• Third, the extent of Western-European cultures included in textbooks

much exceeds that of the Chinese ones.

• Fourth, the large extent of recognition of various countries may be a

way to reduce bias to a small number of countries, e.g. China and

Britain, but it is also a cause of low political aspirations in pupils.

On the other hand, Taiwan seems to encourage

and promote her local culture.• There are a lot of songs composed by

contemporary Taiwanese musicians and also many

contemporary Taiwan musicians are introduced in

the Taiwanese music textbooks.

• Taiwan highly promotes the recognition of her

local culture.

• As a result, Taiwanese people seem to have a

clearer cultural identity.

But, this promotion may be accounted as the

effect of expulsion from the United Nations in

1971 and breaking of friendships with most

countries in the world.

• Therefore, there is a promotion, of the idea

of Taiwan as homeland of, for and by

Taiwan’s people as said by Law (Law

1997:54).

But actually these contemporary musicians

learned their musical knowledge from the

Western world and also they used the Western

musical techniques to compose the songs in

music textbooks.• Therefore, it cannot be said that these

musical works are not purely represented

the local culture, instead of, these are

integrated cultures between East and West.

• That is a mixture of Chinese ideology with Western techniques.

But, in comparison, Local folk music is

introduced more in Taiwan music textbooks

than does in Hong Kong.

• In Taiwan, textbook publishers do not only

introduce local folk music in music textbooks,

but also encourage the students sung in Taiwan

local dialects, Minnen or Hakka languages.