SECOND DRAFT

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Contents

Preamble

Chapter 1 Introduction 1 Rationale 1 Overall Aims 2 Learning Targets 2 Interface with Junior Secondary Curriculum 3

Chapter 2 Curriculum Framework 6 Curriculum Structure and Learning Objectives 6 Time Allocation 10

Chapter 3 Curriculum Planning 11 Progression of Studies 11 Managing the Curriculum 13

Chapter 4 Learning and Teaching 17

Chapter 5 Assessment 18 Assessment for Learning and Assessment of Learning 18 Internal Assessment 19 Public Assessment 19 School-based Assessment 22

Chapter 6 Effective Use of Learning and Teaching Resources 23 Learning and Teaching Materials 23 Facilities and Venues 23 Human Resources 24 Financial Resources 24 Community Resources 24

Chapter 7 Supporting Measures 26 Curriculum Resources 26 Professional Development Programmes 27

Appendix I: Scheme of Work 28

Appendix II: Resources on the Internet 29

Appendix III: Reading Materials 31

References 36

SECOND DRAFT

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SECOND DRAFT

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Preamble

The Curriculum Development Council (CDC)-Hong Kong Examinations and Assessment Authority (HKEAA) Committees (Senior Secondary) of various subjects have been set up jointly by the CDC and the HKEAA Council to develop the Curriculum and Assessment Guides (C&A Guides) for the new 3-year senior secondary academic structure in Hong Kong. During the first stage of consultation on the new academic structure between October 2004 and January 2005, the document Reforming the Academic Structure for Senior Secondary Education and Higher Education - Actions for Investing in the Future (Education and Manpower Bureau, 2004) was published to seek stakeholders’ views on the design blueprint of the structure, the timetable for implementation and financial arrangements. An accompanying document, Proposed Core and Elective Subject Frameworks for the New Senior Secondary Curriculum, was also produced to solicit views and feedback from schools on the initial curriculum and assessment design of individual subjects to inform the development of the C&A Guides.

The report New Academic Structure for Senior Secondary Education and Higher Education – Action Plan for Investing in the Future of Hong Kong (Education and Manpower Bureau, 2005), an outcome of the first stage of consultation, has just been published to chart the way forward for implementing the new academic structure and to set further directions for the second stage of consultation on curriculum and assessment as part of the interactive and multiple-stage process of developing the C&A Guides. In addition, taking into consideration the feedback collected through various means including the returned questionnaires from key learning area coordinators/panel heads during the first stage of consultation, the curriculum and assessment frameworks of subjects have been revised and elaborated. We would like to solicit further views on the frameworks from stakeholders, in particular the school sector.

To understand the position of each subject in the new academic structure, readers are encouraged to refer to the report. Comments and suggestions on the Proposed New Senior Secondary Music Curriculum and Assessment Framework are welcome and could be sent to:

Chief Curriculum Development Officer (Arts Education) Curriculum Development Institute Education and Manpower Bureau Room 407, 4 Pak Fuk Road North Point, Hong Kong Fax: (852) 2590 6763 E-mail: arts@emb.gov.hk

SECOND DRAFT

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Chapter 1 Introduction

1.1 Music is one of the elective subjects in the Arts Education Key Learning Area. To continue the music development offered in basic education, the Senior Secondary Music Curriculum involves a three-year course designed for students who choose Music as an elective subject, leading to an examination provided by Hong Kong Examinations and Assessment Authority (HKEAA), which will replace the HKCE and HKA/ASL Music Examinations. Through a range of rich music learning experiences involving listening, performing and creating, the recommended Senior Secondary Music Curriculum aims to develop students’ creativity, critical response and music skills to the full, and to broaden their music horizons and nurture their cultural awareness. The curriculum is designed with a view to catering for the diverse music backgrounds and strengths of students. For instance, students can choose to perform and compose music in the style of Western classical music, Chinese music, Cantonese operatic songs and popular music.

Rationale

1.2 Music is an important and fundamental practice among human beings for communication, and for emotional and cultural expression. It is a significant art form that contributes to nurturing human beings’ aesthetic sensitivity, and to developing their social, intellectual, physical and mental abilities. Music, as a unique artistic language, records human civilisation, and develops concurrently with human cultures. It enlightens our thinking and enriches our spirit and lives.

1.3 The 21st century is a period characterised by unprecedented changes in politics, economics, technology and culture. Living in a knowledge-based economy and a dynamically changing society, it is important for students to develop creativity, critical thinking and communication skills to meet these ever-changing challenges. Music education develops and harnesses these skills in a unique way, and stimulates students’ curiosity about sounds and music in the environment. It helps students understand and express themselves with music. The abstraction of music contributes to the extension of students’ thinking, and provides them with unlimited space. They can use the unique expressive power of music to freely express their imagination and emotions, and in this way their aesthetic sensitivity, creativity and divergent thinking skills can be cultivated.

1.4 The Senior Secondary Music Curriculum provides students with broad and balanced

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music learning experiences. In addition to Western classical music, students learn to understand diverse music genres and styles such as Chinese music, Cantonese operatic music and popular music, in ways that widen their music and cultural horizons, strengthen their knowledge and promote their respect for local and other cultures. Through active participation in listening, performing and creating, students not only apply music knowledge and skills, but also exercise creativity, imagination, aesthetic sensitivity and critical thinking skills to express the substance, characteristics and feelings of the music. Such meaningful music experiences and processes can help students learn how to learn, enhance their confidence, cultivate generic skills and develop positive values and attitudes. The Senior Secondary Music Curriculum plays an indispensable role in raising students’ musical awareness and competence and in facilitating their all-round, individual development.

Overall Aims

1.5 The overall aims of the curriculum are to enable students to:

develop creativity and nurture aesthetic sensitivity;

further develop their musical competence;

construct knowledge and understanding of diverse music cultures;

develop critical responses to music, and communicate effectively through music;

pursue further studies in music and prepare for careers in music and related areas; and

cultivate a life-long interest in music and develop positive values and attitudes towards music.

Learning Targets

1.6 In the process of music learning, students use creativity, and performing and listening skills to express the qualities and emotions embedded within music. Through the practical music activities of listening, performing and creating, students gain rich and all-round music learning experiences, and work towards the four Learning Targets of the Music curriculum. These are:

Developing Creativity and Imagination Develop music ideas and acquire creating skills, together with performing and listening, to cultivate creativity and imagination.

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Developing Music Skills and Processes Develop performing skills to experience and express music, with emphasis on cultivating music imagination and musicality in practice.

Cultivating Critical Responses in Music Comprehend, respond to and appraise music so as to nurture aesthetic sensitivity and awareness.

Understanding Music in Context Understand the functions of music and the relationship between music and cultures.

Achieving the Four Learning Targets through

Listening, Performing and Creating

Interface with Junior Secondary Curriculum

1.7 In the Junior Secondary Music Curriculum, students gain rich music learning experiences through practical music activities in the areas of creating, performing and listening. The Senior Secondary Music Curriculum extends students’ music learning from junior secondary education. Thus, students can pursue their music studies in the three areas mentioned. Both curricula are closely linked, and contain precise Learning Objectives so as to provide a flexible framework for students’ music learning. These Learning Objectives lead to the four Learning Targets of the Music curricula, i.e. Developing Creativity and Imagination, Developing Music Skills and Processes, Cultivating Critical Responses in Music and Understanding Music in Context. The Learning Objectives of the Senior Secondary Music Curriculum are listed under Section 2.2 “Curriculum Structure and Learning Objectives” on pages 6 to 9.

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1.8 Junior secondary education is an important phase for students to develop their music abilities and construct music knowledge. Students’ interest in music, creativity, critical response, as well as performing and creating skills can be developed to the full. At Secondary Three, students will decide whether they wish to take Music as an elective subject or not, based on their own interest, abilities and knowledge of Music. Thus, teachers should design a suitable Music curriculum for junior secondary students in accordance with the suggestions provided in the Music Curriculum Guide (Primary 1 to Secondary 3), and help develop students’ abilities in listening, performing and creating comprehensively in order to build a firm foundation in music. Teachers have to carefully observe junior secondary students’ performance in music, nurture their proper values and attitudes in Music studies, and encourage them to select Music as an elective subject in their senior secondary studies. In addition, teachers should discuss with the school authority the possibility of offering Music as an elective subject at senior secondary level, and the concomitant arrangements for staff and other resources.

1.9 The selection of elective subjects in students’ senior secondary studies has a long lasting effect on their future studies and careers. Teachers and parents should help students understand fully their own musical competence and future paths in order to help them make appropriate decisions. For example, teachers may arrange briefing sessions for Secondary Three students and their parents and introduce to them the requirements of the Senior Secondary Music Curriculum and the future possibilities for studies and careers. Alumni who have studied Music may be invited to share their experience in music learning with current students.

1.10 Students choosing Music at senior secondary level can become better equipped for studying Music at tertiary level. Such study helps lay a firm foundation for further artistic, academic and intellectual development, and for their further studies and future career. The study of Music at senior secondary level connects well with other subjects. For instance, the study of Music together with:

Visual Arts, Design and Applied Technology, and the Career Oriented Studies related to the arts contributes to students’ development in multi-media and web page production, advertisement and theatre production, television and film production, broadcasting and record production as well as other creative industries;

language subjects contributes to students’ development in arts management, script writing, critique and mass media related to the arts;

Biology and Health Management and Social Care contributes to students’ development

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in music therapy; and

Physics contributes to students’ development in sound engineering as well as architectural acoustics design.

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Chapter 2 Curriculum Framework

2.1 The curriculum consists of Compulsory and Elective Parts. Students are required to study all three modules in the Compulsory Part and choose one module in the Elective Part. The three modules in the Compulsory Part develop students’ abilities comprehensively to respond critically, perform and create music. The Elective Part allows students of different music backgrounds and abilities to choose an area suited to their interest and strengths for further specialisation. The modules of the Compulsory and Elective Parts are as follows:

Compulsory Part (three compulsory modules)

Module 1: Listening

Module 2: Performing I

Module 3: Creating I

Elective Part (choose one module)

Module 4: Special Project

Module 5: Performing II

Module 6: Creating II

Curriculum Structure and Learning Objectives

2.2 Learning Objectives are specifically set out to assist teachers in planning and organising the learning and teaching of Music. The following tables set out the Learning Objectives leading to the four Learning Targets, the requirements and study guidelines of Modules 1-6:

SEC

ON

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*Lea

rnin

g Ta

rget

s C

I SP

CR

MC

Lea

rnin

g O

bjec

tives

R

equi

rem

ents

St

udy

Gui

delin

es

Stud

ents

are

exp

ecte

d to

:

de

velo

p cr

itica

l lis

teni

ng sk

ills,

unde

rsta

nd h

ow m

usic

el

emen

ts a

re u

sed

in

com

posi

tiona

l dev

ices

.

Com

puls

ory

Mod

ule

1 (L

iste

ning

) (40

%)

requ

ires

stud

ents

to:

lis

ten

to a

nd st

udy

mus

ical

wor

ks fr

om th

e fo

llow

ing

perio

ds a

nd g

enre

s: m

usic

in th

e W

este

rn c

lass

ical

trad

ition

from

Bar

oque

pe

riod

to th

e 20

th C

entu

ry, C

hine

se

inst

rum

enta

l mus

ic, C

anto

nese

ope

ratic

m

usic

, loc

al a

nd W

este

rn p

opul

ar m

usic

.

use

appr

opria

te m

usic

term

inol

ogy

/ no

tatio

ns to

dem

onst

rate

the

deve

lopm

ent

of a

ural

per

cept

ion

and

know

ledg

e ab

out

mus

ic e

lem

ents

, stru

ctur

es, e

xpre

ssiv

e qu

aliti

es a

nd c

ompo

sitio

nal d

evic

es.

de

scrib

e an

d di

scus

s mus

ic in

rela

tion

to it

s hi

stor

ical

and

cul

tura

l con

text

s.

a.

Mus

ic in

the

Wes

tern

cla

ssic

al tr

aditi

on (2

0%):

e.g.

ope

ra, f

ugue

, ove

rture

, con

certo

gro

sso,

ora

torio

, can

tata

, sui

te,

conc

erto

, sym

phon

y, so

nata

, sym

phon

ic p

oem

, art

song

, im

pres

sion

ism

, ne

o-cl

assi

cism

, ser

ialis

m.

b.

Chi

nese

inst

rum

enta

l mus

ic (8

%):

e.g.

guq

in m

usic

, pip

a m

usic

, erh

u m

usic

, diz

i mus

ic, J

iang

nan

sizh

u,

Gua

ngdo

ng m

usic

, Chi

nese

orc

hest

ral m

usic

. c.

C

anto

nese

ope

ratic

mus

ic (6

%):

e.g.

bon

g w

ong

(cet

zi c

ing

zung

ban

, si g

ung

kwen

fa, f

an si

n sa

p zi

gey

zu

ng b

an, b

at zi

gey

ji w

ong

man

ban

), sy

t bak

(bak

lam

, si b

ak, h

au b

ak,

hau

gwu)

, man

ban

nam

jem

(zin

g si

n, ji

fan)

and

siu

kuk

(zin

g si

n, fa

n si

n).

d.

Loca

l and

Wes

tern

pop

ular

mus

ic (6

%):

e.g.

Jose

ph K

oo, S

am H

ui, E

lvis

Pre

sley

and

Bea

tles.

iden

tify

and

resp

ond

criti

cally

to th

e m

usic

ge

nres

and

styl

es o

f di

ffere

nt c

ultu

res a

nd

perio

ds, a

nd e

xpre

ss

unde

rsta

ndin

g an

d pe

rson

al v

iew

s on

the

mus

ic.

an

alys

e th

e ar

tistic

qu

aliti

es o

f div

erse

m

usic

gen

res a

nd st

yles

in

rela

tion

to th

eir

hist

oric

al a

nd c

ultu

ral

cont

exts

.

Ele

ctiv

e M

odul

e 4

(Spe

cial

Pro

ject

) (20

%)

requ

ires

stud

ents

to:

st

udy

the

rela

tions

hip

betw

een

mus

ic a

nd

its h

isto

rical

and

cul

tura

l con

text

s on

the

chos

en to

pic

thro

ugh

exte

nsiv

e lis

teni

ng

de

mon

stra

te th

eir a

naly

tical

and

in

terp

reta

tive

abili

ties t

o di

scus

s crit

ical

ly

the

chos

en to

pic

in a

writ

ten

repo

rt of

not

le

ss th

an 5

000

wor

ds (i

n C

hine

se o

r En

glis

h).

a.

The

topi

c of

the

spec

ial p

roje

ct c

ould

be

a di

scus

sion

on

the

mus

ic a

nd

cultu

ral c

onte

xt o

f spe

cific

mus

ical

wor

ks, m

usic

ians

or p

heno

men

on in

m

usic

, e.g

. ‘Th

e av

ant-g

arde

exp

ress

ion

in th

e m

usic

al w

orks

by

Dom

ing

Lam

’, ‘A

com

paris

on o

n th

e pe

rfor

man

ce c

hara

cter

istic

s of t

wo

loca

l or

ches

tras’

, ‘Ex

plor

ing

the

inte

rpre

tatio

n of

Moz

art’s

Sym

phon

y N

o.41

by

diffe

rent

con

duct

ors’

, ‘A

fiel

dwor

k re

port

on S

ai K

ung

Hak

ka m

ount

ain

song

s’, ‘

The

appl

icat

ion

of tr

aditi

onal

Chi

nese

mus

ic e

lem

ents

in

Can

tone

se p

op so

ngs’

. b.

A

part

from

aud

io-v

isua

l mat

eria

ls, s

core

s and

refe

renc

es, d

iver

sifie

d m

eans

su

ch a

s liv

e pe

rfor

man

ces,

inte

rvie

ws a

nd fi

eldw

ork

can

be in

corp

orat

ed in

th

e st

udy.

c.

Th

e w

ritte

n re

port

shou

ld c

onsi

st o

f the

follo

win

g pa

rts:

i) In

trodu

ctio

n: T

he a

im, m

etho

dolo

gy a

nd a

rea

of re

sear

ch;

ii) D

iscu

ssio

n an

d an

alys

is;

iii) C

oncl

usio

n; a

nd

iv)

List

of r

efer

ence

s. (A

list

of l

iste

ning

repe

rtoire

and

bib

liogr

aphy

mus

t be

incl

uded

.) *L

earn

ing

Targ

ets:

C

I – D

evel

opin

g C

reat

ivity

and

Imag

inat

ion

SP

– D

evel

opin

g M

usic

Ski

lls a

nd P

roce

sses

C

R –

Cul

tivat

ing

Crit

ical

Res

pons

es in

Mus

ic

MC

– U

nder

stan

ding

Mus

ic in

Con

text

SEC

ON

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FT

- 8 -

*Lea

rnin

g Ta

rget

s C

I SP

CR

MC

Lea

rnin

g O

bjec

tives

R

equi

rem

ents

St

udy

Gui

delin

es

Stud

ents

are

ex

pect

ed to

:

pe

rfor

m m

usic

ac

cura

tely

and

flu

ently

with

ap

prop

riate

con

trol

over

tech

niqu

e an

d ex

pres

sion

.

Com

puls

ory

Mod

ule

2 (P

erfo

rmin

g I)

(20%

) req

uire

s st

uden

ts to

:

sing

or p

lay

two

or m

ore

piec

es

indi

vidu

ally

in c

ontra

stin

g st

yles

in

a re

cita

l, an

d ta

ke p

art i

n a

viva

voc

e to

exp

lain

thei

r un

ders

tand

ing

and

inte

rpre

tatio

n of

the

mus

ic p

erfo

rmed

.

perf

orm

one

pie

ce in

an

inst

rum

enta

l or v

ocal

ens

embl

e.

sing

at s

ight

a si

mpl

e sh

ort

mel

ody.

a.

Sing

or p

lay

two

or m

ore

piec

es in

divi

dual

ly (1

2%):

i) Th

e du

ratio

n of

per

form

ance

shou

ld ra

nge

from

8 to

15

min

utes

; ii)

A

ny C

hine

se a

nd W

este

rn in

stru

men

ts, a

s wel

l as v

oice

(inc

ludi

ng C

anto

nese

ope

ratic

song

s and

pop

song

s)

can

be u

sed

for p

erfo

rman

ce;

iii)

The

basi

c re

quire

men

t of t

his m

odul

e is

equ

ival

ent t

o th

e G

rade

4 p

ract

ical

exa

min

atio

n of

the A

ssoc

iate

d B

oard

of t

he R

oyal

Sch

ools

of M

usic

(AB

RSM

); iv

) A

n in

divi

dual

per

form

ance

may

eith

er b

e un

acco

mpa

nied

or a

ccom

pani

ed. T

he a

ccom

pani

men

t may

be

live

or

thro

ugh

a ba

ckin

g tra

ck;

v)

The

inte

grity

of t

he m

usic

stru

ctur

e sh

ould

be

pres

ente

d by

mea

ns o

f per

form

ing

the

entir

e m

ovem

ent,

for

inst

ance

. b.

V

iva

voce

(2%

): i)

The

dura

tion

of v

iva

voce

shou

ld ra

nge

from

3 to

5 m

inut

es;

ii)

The

area

s of d

iscu

ssio

n in

clud

e ba

ckgr

ound

of m

usic

pie

ces,

styl

istic

cha

ract

eris

tics,

way

s of i

nter

pret

atio

n.

c.

Perf

orm

one

pie

ce in

an

ense

mbl

e (4

%):

i) Th

e du

ratio

n of

per

form

ance

shou

ld ra

nge

from

3 to

5 m

inut

es;

ii)

The

ense

mbl

e sh

ould

con

sist

of a

t lea

st 2

pla

yers

; the

can

dida

te’s

par

t sho

uld

not b

e co

nsis

tent

ly d

oubl

ed b

y an

y ot

her p

erfo

rmer

s. d.

Si

ght-s

ingi

ng (2

%):

Si

ng a

t sig

ht a

tona

l mel

ody

of 8

to 1

2 ba

rs, w

hich

is in

sim

ple

or c

ompo

und

time

with

dot

ted

rhyt

hms,

and

with

in

a ra

nge

of a

n oc

tave

. e.

If

can

dida

tes c

hoos

e El

ectiv

e M

odul

e 5

as a

n el

ectiv

e, th

e pi

eces

per

form

ed in

this

mod

ule

shou

ld n

ot

be id

entic

al w

ith th

e pi

eces

in M

odul

e 5.

perf

orm

diff

eren

t ty

pes o

f mus

ic

usin

g ap

prop

riate

st

yles

to

dem

onst

rate

the

abili

ty to

inte

rpre

t m

usic

and

the

deve

lopm

ent o

f ae

sthe

tic

sens

itivi

ty.

di

scus

s, ex

plai

n an

d de

fend

a

pers

onal

in

terp

reta

tion

of

the

mus

ic b

eing

pe

rfor

med

.

Ele

ctiv

e M

odul

e 5

(Per

form

ing

II) (

20%

) req

uire

s stu

dent

s to:

sing

or p

lay

thre

e or

mor

e pi

eces

indi

vidu

ally

in

cont

rast

ing

styl

es in

a re

cita

l, an

d ta

ke p

art i

n a

viva

voc

e to

ex

plai

n th

eir u

nder

stan

ding

and

in

terp

reta

tion

of th

e m

usic

pe

rfor

med

. OR

subm

it a

reco

gnis

ed

qual

ifica

tion

for e

xem

ptio

n.

a.

Sing

or p

lay

thre

e or

mor

e pi

eces

indi

vidu

ally

(18%

): i)

The

dura

tion

of p

erfo

rman

ce sh

ould

rang

e fr

om 1

0 to

20

min

utes

; ii)

A

ny C

hine

se a

nd W

este

rn in

stru

men

ts, a

s wel

l as v

oice

(inc

ludi

ng C

anto

nese

ope

ratic

song

s and

pop

song

s)

can

be u

sed

for p

erfo

rman

ce;

iii)

The

basi

c re

quire

men

t of t

his m

odul

e is

equ

ival

ent t

o th

e G

rade

6 p

ract

ical

exa

min

atio

n of

AB

RSM

; iv

) Th

e ca

ndid

ate’

s per

form

ance

may

eith

er b

e un

acco

mpa

nied

or a

ccom

pani

ed. T

he a

ccom

pani

men

t may

be

live

or th

roug

h a

back

ing

track

; v)

Th

e in

tegr

ity o

f the

mus

ic st

ruct

ure

shou

ld b

e pr

esen

ted

by m

eans

of p

erfo

rmin

g th

e en

tire

mov

emen

t, fo

r in

stan

ce.

b.

Viv

a vo

ce (2

%):

i) Th

e du

ratio

n of

viv

a vo

ce sh

ould

rang

e fr

om 5

to 7

min

utes

; ii)

Th

e ar

eas o

f dis

cuss

ion

incl

ude

back

grou

nd o

f mus

ic p

iece

s, st

ylis

tic c

hara

cter

istic

s, w

ays o

f int

erpr

etat

ion.

c.

Th

e pi

eces

per

form

ed in

this

mod

ule

shou

ld n

ot b

e id

entic

al w

ith th

e pi

eces

in C

ompu

lsor

y M

odul

e 2.

d.

If

can

dida

tes s

ubm

it a

reco

gnis

ed q

ualif

icat

ion

for e

xem

ptio

n fr

om th

is e

xam

inat

ion,

the

piec

es

perf

orm

ed in

Com

puls

ory

Mod

ule

2 sh

ould

be

diffe

rent

from

the

piec

es in

the

reco

gnis

ed p

ract

ical

ex

amin

atio

n.

*Lea

rnin

g Ta

rget

s:

CI –

Dev

elop

ing

Cre

ativ

ity a

nd Im

agin

atio

n

SP –

Dev

elop

ing

Mus

ic S

kills

and

Pro

cess

es

CR

– C

ultiv

atin

g C

ritic

al R

espo

nses

in M

usic

M

C –

Und

erst

andi

ng M

usic

in C

onte

xt

SEC

ON

D D

RA

FT

- 9 -

*Lea

rnin

g Ta

rget

s C

I SP

CR

MC

Lea

rnin

g O

bjec

tives

Req

uire

men

ts

Stud

y G

uide

lines

Stud

ents

are

exp

ecte

d to

:

cr

eate

and

dev

elop

m

usic

idea

s em

ploy

ing

appr

opria

te

com

posi

tiona

l de

vice

s.

arra

nge

exis

ting

mus

ic to

dem

onst

rate

cr

eativ

ity a

nd

mus

ical

un

ders

tand

ing

of th

e or

igin

al p

iece

.

Com

puls

ory

Mod

ule

3 (C

reat

ing

I)

(20%

) req

uire

s stu

dent

s to:

crea

te tw

o or

mor

e co

mpo

sitio

ns in

a

varie

ty o

f sty

les w

hich

dis

play

a

stru

ctur

al d

esig

n.

ar

rang

e on

e m

usic

pie

ce.

pr

esen

t a re

flect

ive

repo

rt to

reco

rd

and

disp

lay

the

crea

ting

proc

ess o

f ea

ch c

ompo

sitio

n.

a.

Com

pose

two

or m

ore

com

posi

tions

(12%

): i)

The

tota

l dur

atio

n of

the

com

posi

tions

shou

ld b

e ap

prox

imat

ely

5 to

15

min

utes

, with

at

leas

t one

com

posit

ion

scor

ed fo

r an

ense

mbl

e;

ii)

The

com

posi

tions

cou

ld b

e in

the

form

of s

olo

piec

es, c

hora

l pie

ces,

elec

tro-a

cous

tic

mus

ic, C

anto

nese

ope

ratic

song

s, po

p so

ngs,

etc.

b.

A

rran

ge o

ne m

usic

pie

ce (4

%):

i) Th

e du

ratio

n of

the

arra

ngem

ent s

houl

d be

app

roxi

mat

ely

3 to

5 m

inut

es;

ii)

Exis

ting

mel

odie

s or m

usic

pie

ces c

an b

e ar

rang

ed in

oth

er fo

rms s

uch

as

re-o

rche

stra

tion,

re-h

arm

onis

atio

n, a

nd/o

r dev

elop

ing

varia

tions

. c.

R

efle

ctiv

e re

port

(4%

): Th

e re

port

may

incl

ude

the

aim

s, th

e de

velo

pmen

t of m

usic

idea

s, co

mpo

sitio

nal d

evic

es,

refin

emen

t of t

he c

ompo

sitio

n, p

erfo

rman

ce p

ract

ice,

the

use

of IT

and

a li

st o

f ref

eren

ce

repe

rtoire

. d.

Th

e re

cord

ing

(live

or e

lect

ro-a

cous

tic p

erfo

rman

ce) a

nd sc

ore

of th

eco

mpo

sitio

ns

have

to b

e su

bmitt

ed.

e.

If c

andi

date

s cho

ose

Elec

tive

Mod

ule

6 as

an

elec

tive,

the

com

posi

tions

subm

itted

in

this

mod

ule

shou

ld n

ot b

e id

entic

al w

ith th

e co

mpo

sitio

ns in

Mod

ule

6.

disc

uss a

nd e

xpla

in

the

use

of m

usic

el

emen

ts in

co

mpo

sitio

nal

devi

ces o

f the

ir co

mpo

sitio

ns.

Ele

ctiv

e M

odul

e 6

(Cre

atin

g II

) (20

%)

requ

ires

stud

ents

to:

cr

eate

thre

e or

mor

e co

mpo

sitio

ns in

a

varie

ty o

f sty

les w

hich

dis

play

a

stru

ctur

al d

esig

n.

pr

esen

t a re

flect

ive

repo

rt to

reco

rd

and

disp

lay

the

crea

ting

proc

ess o

f ea

ch c

ompo

sitio

n.

OR

subm

it a

reco

gnis

ed q

ualif

icat

ion

for

exem

ptio

n.

a.

Com

pose

thre

e or

mor

e co

mpo

sitio

ns (1

6%):

i) Th

e to

tal d

urat

ion

of th

e co

mpo

sitio

ns sh

ould

be

appr

oxim

atel

y 10

to 2

0 m

inut

es, w

ith

at le

ast o

ne c

ompo

sitio

n sc

ored

for a

n en

sem

ble;

ii)

Th

e co

mpo

sitio

ns c

ould

be

in th

e fo

rm o

f sol

o pi

eces

, cho

ral p

iece

s, el

ectro

-aco

ustic

m

usic

, Can

tone

se o

pera

tic so

ngs,

pop

song

s, et

c.

b.

Ref

lect

ive

repo

rt (4

%):

The

repo

rt m

ay in

clud

e th

e ai

ms,

the

deve

lopm

ent o

f mus

ic id

eas,

com

posi

tiona

l dev

ices

, re

finem

ent o

f the

com

posi

tion,

per

form

ance

pra

ctic

e, th

e us

e of

IT a

nd a

list

of r

efer

ence

re

perto

ire.

c.

The

reco

rdin

g (li

ve o

r ele

ctro

-aco

ustic

per

form

ance

) and

scor

e of

the

com

posi

tions

ha

ve to

be

subm

itted

. d.

Th

e co

mpo

sitio

ns su

bmitt

ed in

this

mod

ule

shou

ld n

ot b

e id

entic

al w

ith th

e co

mpo

sitio

ns in

Com

puls

ory

Mod

ule

3.

e.

If c

andi

date

s sub

mit

a re

cogn

ised

qua

lific

atio

n fo

r exe

mpt

ion

from

this

ex

amin

atio

n, th

e co

mpo

sitio

ns su

bmitt

ed in

Com

puls

ory

Mod

ule

3 sh

ould

be

diffe

rent

from

the

com

posi

tions

in th

e re

cogn

ised

exa

min

atio

n.

*Lea

rnin

g Ta

rget

s:

CI –

Dev

elop

ing

Cre

ativ

ity a

nd Im

agin

atio

n

SP –

Dev

elop

ing

Mus

ic S

kills

and

Pro

cess

es

CR

– C

ultiv

atin

g C

ritic

al R

espo

nses

in M

usic

M

C –

Und

erst

andi

ng M

usic

in C

onte

xt

SECOND DRAFT

- 10 -

Time Allocation

2.3 Schools need to provide sufficient lesson time for students who have chosen Music as an elective. About 10% of the total formal lesson time should be allocated to Music in the three years of senior secondary studies, which is about 270 lesson hours. For instance, a school with a timetable of 40 lessons per week should allocate at least four Music lessons per week. It is generally advisable that two double Music lessons are arranged per week in order to provide students with adequate sustained time for listening, performing and creating activities.

SECOND DRAFT

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Chapter 3 Curriculum Planning

Progression of Studies

3.1 The three compulsory modules of this curriculum, i.e. Listening, Performing I and Creating I, are designed to develop students’ creativity, critical response and all-round musical competence, whereas the three elective modules allow students to specialise in an area of their interest and strengths. Thus, students have to study three compulsory modules and one elective module from Senior Secondary (SS)1 to SS3. In SS1, students should acquire an overview on the requirements of all the modules and begin the study of the three compulsory modules. It is also beneficial for students to have a preliminary understanding on the development and trends of Western classical music, Chinese music, Cantonese operatic music and popular music, and to construct knowledge on Chinese and Western instrumentation, compositional devices and elementary harmony in order to lay a firm foundation for their studies in SS2 and SS3. Teachers need to help students develop their musical competence comprehensively through listening, performing and creating activities so that students are provided with a platform to apply the related music knowledge and skills. After the first year of studies, students will understand better their own preference, strengths and the curriculum requirements, and be more prepared to choose a suitable elective module for a more in-depth pursuit in SS2.

3.2 Students will continue the studies of the compulsory modules in the second and third years. In this process, their appraising, performing and creating skills will be further developed, and more related music knowledge constructed. Upon completing the first year of senior secondary studies, students will have already accumulated some experiences in listening, performing and creating, and will have had concrete understanding of the curriculum requirements. They should choose one module from Elective Modules 4 to 6 as early as possible, and pursue the relevant studies during SS2 and SS3. Teachers will have to guide students on the study of individual topics in listening, performing and creating. With such support, students can analyse and explore various music styles and artistic characteristics from multi-perspectives, and be encouraged to express personal views on different musical works and their interpretations with evidence.

3.3 Having due regard to the nature of the subject, curriculum requirements and student needs, teachers should plan the progression of studies flexibly and arrange the learning content progressively in order to help students develop their abilities in appraising,

SECOND DRAFT

- 12 -

performing and music creating. In the course of music learning, listening, performing and creating are carried out in an integrated and well-connected manner. Thus, the three areas should not be conducted discretely and in isolation in the three years of senior secondary studies. Some important points on the three areas are provided below to facilitate further illustration.

3.4 In the aspect of listening, students’ development in listening has to be consolidated first by promoting their abilities in analysing music elements through listening. In addition to developing sensitive listening skills, students need to understand compositional skills, artistic characteristics of different genres and music styles in relation to their historical and cultural contexts. Such knowledge must be applied also in the areas of performing and creating. Teachers may use “vertical development” and “horizontal linkage” to arrange and organise the teaching in the area of listening. For instance, a chronological method may be adopted for Western classical music. Teachers can guide their students to study the music and artistic characteristics of different musical periods from the Baroque period onwards. Alternatively, a certain topic can be chosen to feature music in different periods and genres in the study, such as the melodic characteristics and development, the timbre and structure of orchestra, in order to strengthen effectively students’ understanding of music from different cultures. Teachers should not be bound in a certain way to arrange the progression of studies among topics in Western classical music, Chinese instrumental music, Cantonese operatic music and popular music. They should make flexible arrangements according to learning and teaching needs and students’ interest.

3.5 In the aspect of performing, students are guided to understand the music characteristics and ways of interpretation of music from different periods and genres through extensive listening so that their performing and interpretation skills will be enhanced. Besides, teachers have to develop students’ sight-singing skills at an early stage, and help them organise choral and ensemble activities in order to develop collaborative skills in music. As students’ strengths and standards in performing are different, teachers need to discuss with them the progression of studies and performance repertoire based on individual needs.

3.6 In the aspects of creating, students should listen to music of different styles in order to broaden their music and cultural horizons, and to accumulate music nourishment for stimulating inspiration and ideas for creating. Students have to learn knowledge related to music creating, such as development of music ideas, use of orchestration, form, harmony and texture. They should then apply this knowledge to arrange and create music in order to

SECOND DRAFT

- 13 -

enhance their compositional skills and aesthetic sensitivity. Teachers should arrange performances of students’ compositions, and guide them to appraise compositions of their own and their classmates. Thus, they will have more in-depth understanding of and experience in music creating. In addition, teachers should help students decide on the content of their portfolios based on individual students’ abilities and inclination.

Managing the Curriculum

3.7 Careful curriculum planning does not only facilitate student learning, but also cultivate students’ generic skills and proper values and attitudes. When planning the three-year Senior Secondary Music Curriculum, teachers need to understand students’ needs and abilities in addition to the requirements of the modules in this curriculum. With this in mind, teachers decide on the appropriate learning content and work out suitable strategies. Curriculum development is, nevertheless, a continuous process. Teachers should make adjustments in curriculum planning, as well as learning and teaching and assessment strategies whenever necessary.

3.8 In the process of lesson planning, teachers consider students’ music abilities to be developed and help students achieve the expected learning outcomes by setting related Learning Objectives, allocating sufficient lesson time, as well as adapting suitable learning materials. This Curriculum Guide provides precise Learning Objectives leading to the four Learning Targets in the three areas of listening, performing and creating, to provide a suggested framework for planning the learning and teaching and assessing students’ performance in Music. The Learning Objectives may contribute to one or more Learning Targets, though the depth may vary. In the process of lesson planning, teachers should apply the recommended Learning Objectives flexibly or design suitable Learning Objectives of their own, taking due regard of learning and teaching needs. The Learning Objectives of different modules in this curriculum are listed in Section 2.2 “Curriculum Structure and Learning Objectives” on pages 6 to 9.

3.9 Students’ music learning can take place at any time and space. Apart from lesson time in the classroom, learning can take place outside the classroom, such as lesson breaks, lunchtime, after-school hours and during holidays. The sounds and music that students encounter everywhere can be materials for music learning. With teachers’ appropriate guidance and stimulation of learning interest, students can extend learning in their everyday lives.

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3.10 The time allocation in the three years of senior secondary Music studies has already been listed in Section 2.3 “Time Allocation” on page 10, which is approximately 270 lesson hours. The suggested percentage and amount of lesson time for each of the three areas of learning, i.e. listening, performing and creating, are listed below:

Area Suggested Percentage of Lesson Time (Approx. number of hours)

Listening 50-60% (135-162 hours)

Performing 15-25% (40-68 hours)

Creating 25-35% (68-95 hours)

3.11 Taking into account the suggested percentages, teachers should assign and use the lesson time for the three main areas flexibly according to students’ music abilities and learning progress as well as the requirements of the modules. Through listening extensively to different kinds of music, students can develop sensitive listening abilities and gain rich music nourishment and experiences. Thus, teachers may assign more lesson time for listening, in order to enhance students’ abilities in performing and creating. On the other hand, if students have acquired a considerable level of performing skills, the lesson time in this area can be reduced accordingly, and teachers can assign more lesson time to the areas of listening and creating according to learning and teaching needs.

3.12 Teachers have to encourage students to make full use of after-school hours for music learning, such as using lunch and after-school hours to arrange ensemble and choral activities, attending concerts, participating in performances and competitions. These activities can sharpen students’ aesthetic sensitivity and strengthen their music skills. When watching programmes on electronic media, students can observe how images are used together with the music in order to understand how the music elements are used in compositional devices, thereby enriching their creative ideas. The majority of students who select this subject as an elective have instrumental and vocal lessons by their own instructors. Thus, learning time in the area of performing can actually be more than the lesson time suggested. Teachers have to be well acquainted with students’ learning progress and repertoire. Through lesson time, teachers can let them explore and analyse the interpretation of the music pieces. Guidance on sight-singing, ensemble or choral activities should also be provided.

SECOND DRAFT

- 15 -

3.13 Teachers should plan learning content based on the requirements and study guidelines of the modules in this curriculum, and decide on the depth and breadth of each topic. As students have different interest and abilities with regard to listening, performing and creating, teachers need to arrange the learning content flexibly and select suitable materials based on learning and teaching needs. The suggested learning foci for the three areas are as follows:

Area Suggested Learning Foci

Listening

Develop the awareness and understanding of music, e.g. Pitch: intervals, scales, range Duration / Rhythm: syncopation, polyrhythm, polymeter, ding ban (jet ban

sam ding, jet ban jet ding, lau sey bam) Dynamics: gradation of dynamics, subtle differences and changes in

dynamics Tempo: gradation of tempi, subtle differences and changes in tempi Timbre: timbres of different combinations of voices and instruments,

different ways of sound production in voices and instruments, effects of recorded and mixed sounds Texture: monophony, homophony, polyphony, heterophony Harmony: chords, harmonic progression, cadences Tonality: modes, atonality, modulation, polytonality, concept of modes and

sin of Cantonese opera (si gung sin, ho ce sin, ji fan sin, fan sin) Structure / Form: repeated and contrasting sections (e.g. binary, ternary and

rondo form), forms with developing ideas (e.g. theme and variation, sonata), yuyauwei, hetouhewei, Chinese instrumental forms (e.g. liushibaban, taoquti), ban sik in Cantonese opera (e.g. cet zi gey zung ban, bat zi gey man ban) Notation: staff notation, jianpu, gung ce pou Genres and music styles: please refer to the study guidelines of Compulsory

Module 1 on page 7

SECOND DRAFT

- 16 -

Performing

Develop performing skills, e.g. clarity and accuracy of rhythm and pitch technical control and fluency appropriate musical expression appropriate tempo effective use of dynamics phrasing stylistic awareness interpretation sense of ensembleship sight-singing

Creating

Develop creating skills, e.g. development of music ideas exploit and control the medium use of music elements structural interest (unity, contrast, balance, form) consistency of style notation

3.14 Teachers need to adopt a student-centred teaching style to stimulate students’ learning interest and motivation. Through diversified practical music activities, students gain personal experiences, and derive comprehensive development in music skills, aesthetic sensibility, as well as skills in thinking, self-learning and collaboration. Besides, teachers should adapt various modes of assessment, and use formative and summative assessment flexibly in order to assess comprehensively students’ performance and understand their development in generic skills, values and attitudes. Please refer to Chapters 4 and 5 for further information on learning and teaching, and assessment strategies.

SECOND DRAFT

- 17 -

Chapter 4 Learning and Teaching

4.1 Through the practical music activities of listening, performing and creating, students can apply their music knowledge and skills and engage in valuable music and aesthetic experiences. Music is an aural art, and listening experience is the foundation for music learning. In the learning process, students have to listen and explore, select, attempt and make decisions to continuously refine their performances and compositions. Such music and aesthetic experiences can help students broaden their thinking, strengthen their understanding in music, and enhance their creativity, critical response and interpretation skills.

4.2 Listening is an effective point of entry for music learning. Students identify, analyse and understand the characteristics of music styles through listening, and later proceed to learn performing related musical works and create music. Students have to listen extensively to music of a wide variety of genres and styles so as to gain rich music nourishment and experiences with a view to widening their music awareness and horizons. Their listening abilities and critical responses need to be further strengthened, so that they can acquire adequate skills and lay a firm foundation for creating and performing, and for undertaking a special project at a later stage.

4.3 In designing the teaching of Music, teachers should implement music activities that integrate listening, performing and creating as far as possible so that student abilities in these three areas can be thoroughly reinforced with each other. For instance, when teachers require students to perform and listen to musical works from the Baroque period, they do not only have performance training but also develop intensive listening skills, as well as understand the music characteristics and performance practices of the period. Students may also use the related compositional devices to create, and perform the compositions of their own or by their classmates. With self and peer assessment, students acquire in-depth understanding of Baroque music styles, and the related music theory and knowledge. Please refer to Appendix I: Scheme of Work on page 28 for further illustration.

4.4 Teachers play a more prominent leading role at the beginning stage of learning, when students need more instructions and guidance, setting directions and learning foci. As students’ music and critical abilities increase and their knowledge and interests widen, teachers can give students more autonomy and space so that they can learn to be more active and independent self-regulated music learners.

SECOND DRAFT

- 18 -

Chapter 5 Assessment

5.1 Assessment is an important component in the learning and teaching process, which helps to facilitate student learning and enhance the quality of learning and teaching. Teachers collect evidence of student learning in order to adjust learning and teaching strategies, and to recognise students’ achievements. The assessment design should be aligned with the Learning Objectives in the three areas of listening, performing and creating, as well as the requirements of study for the different modules. In order to understand students’ music abilities, aesthetic sensibility, creativity, critical thinking and other generic skills, as well as development of values and attitudes, students will be assessed in a comprehensive manner while being involved in activities related to listening, performing and creating.

Assessment for Learning and Assessment of Learning

5.2 Assessment should be two fold, i.e. ‘assessment for learning’ and ‘assessment of learning’. Assessment for learning is especially important in the process of music learning and teaching, whereby teachers give appropriate feedback on students’ performance immediately and let the students know their level of achievement. This would generate learning incentive and point students towards the direction for improvement. Teachers would also understand students’ abilities and be able to adjust the arrangement of learning and teaching according to their progress. Assessment of learning, which is usually conducted regularly at a certain period of the school term, is mostly used for selection and reporting purposes.

5.3 In order to assess students’ development in different aspects of music learning comprehensively, including their performance in music, learning progress, generic skills, values and attitudes, understanding both their learning process and outcome is equally important. Teachers observe students’ classroom performance continuously, improve their music skills through demonstration, and develop their critical thinking and communication skills through illustrations and discussions. For reporting purposes, teachers usually assess students’ music skills through practical tests, written tests, submitted works and written report by the end of the school term. To identify students’ potential effectively and assess their performance, teachers should adopt assessment for learning to a larger extent and use diversified modes of assessment to assess students systematically and continuously in order to improve and facilitate student learning.

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- 19 -

Internal Assessment

5.4 Internal assessment refers to assessment practices that schools employ as part of learning and teaching strategies during the three-year study in Music. Teachers should make good use of formative and summative practices to understand student learning and performance, and to make appropriate adjustments to their teaching strategies. In addition, such practices help students understand their music abilities and learning progress, thereby setting a clear direction for improvement in learning. Students’ performance in listening, performing and creating is continuously assessed through the use of a range of different assessment modes, such as those involving worksheets, listening tests, oral and written reports, practical tests, concert performances, portfolios and self and peer assessment.

Public Assessment

5.5 Public Assessment of Music leads to qualification in the subject to be offered by HKEAA. In the public assessment of Music, a standards-referenced approach will be adopted for grading and reporting student achievement. The purpose of this approach is to recognise what each student can do in Music at the end of the three-year senior secondary education. Each student’s performance will be matched against a set of performance standards, rather than compared to the performance of other students. This makes the implicit standards explicit by providing specific indications of students’ performance. Descriptors will be provided for the set of standards at a later stage. Public assessment consists of the Compulsory and Elective Parts, and they will be assessed by External Assessment and School-based Assessment (SBA). Details are as follows:

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- 20 -

Part Mode Duration Weighting

Compulsory Part (three compulsory papers)

Paper 1: Listening External Assessment (public written examination)

2.5 to 3 hours 40%

Paper 2: Performing I School-based Assessment (practical examination)

Around 30 minutes 20%

Paper 3: Creating I External Assessment (portfolio) N. A. 20%

Elective Part (choose one paper)

Paper 4: Special Project External Assessment (project report) N. A. 20%

Paper 5: Performing II External Assessment (practical examination)OR other recognised qualifications

Around 30 minutes 20%

Paper 6: Creating II External Assessment (portfolio) OR other recognised qualifications N. A. 20%

Paper 1: Listening (40%) Students have to sit for a public written examination. The examination covers the following: (i) Music in the Western classical tradition (20%); (ii) Chinese instrumental music (8%); (iii) Cantonese operatic music (6%); and (iv) Local and Western popular music (6%) Students listen to a number of music excerpts and answer related questions. The excerpts will be played an appropriate number of times. Scores will be provided for some of the excerpts.

Paper 2: Performing I (20%) Students’ performance in this Paper will be internally assessed by teachers, and the results externally moderated by HKEAA. Students may use voice and any instruments. The basic requirement of this Paper is comparable with the Grade 4 practical examination of the Associated Board of the Royal Schools of Music (ABRSM). The candidates will: (i) sing or play two or more pieces individually in contrasting styles in a recital (12%), the

duration of which should range from 8 to 15 minutes; (ii) take part in a viva voce to explain their understanding and interpretation of the music

performed (2%), the duration of which should range from 3 to 5 minutes; (iii) perform one piece in an instrumental or vocal ensemble (4%); and (iv) sing at sight a tonal melody of 8 to 12 bars (2%). If students choose Paper 5 as an elective in the same sitting, the pieces performed in this Paper should not be identical with the pieces in Paper 5.

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Paper 3: Creating I (20%) Students are required to submit a portfolio for external assessment. The following items must be included in the portfolio: (i) two or more compositions (12%), the total duration of which should be approximately 5

to 15 minutes, with at least one composition for an ensemble; (ii) one music arrangement (4%), the duration of which should be approximately 3 to 5

minutes, with the requirements that students should make the arrangement on an original piece which has not been arranged by others before, and that the score of the original piece has to be submitted together with the arrangement; and

(iii) a reflective report (4%). The recording and score of the compositions have to be submitted as well. If candidates choose Paper 6 as an elective in the same sitting, the compositions submitted in this Paper should not be identical with the compositions in Paper 6.

Paper 4: Special Project (20%) Students have to submit a written report of not less than 5000 words in either Chinese or English to discuss the music and cultural context of a certain topic for external assessment. The written report should consist of an introduction, discussion and analysis, conclusion and list of references (a list of listening repertoire and a bibliography must be included). Scores, illustrations, and audio or video recordings can also be included as additional materials. The topic of the Special Project has to be approved by HKEAA in advance. In general, topics which focus on discussion of musicians’ biographical details will not be considered.

Paper 5: Performing II (20%) Students may use any instruments for this externally moderated practical examination. The basic requirement of this Paper is comparable with the Grade 6 practical examination of ABRSM. Candidates will: (i) sing or play three or more pieces individually in contrasting styles in a recital (18%), the

duration of which should range from 10 to 20 minutes; and (ii) take part in a viva voce to explain their understanding and interpretation of the music

performed (2%), the duration of which should range from 5 to 7 minutes. The pieces performed in this Paper should not be identical with the pieces in Paper 2. Students may submit proof of a recognised qualification for exemption from this Paper. The conversion of grades based on various recognised qualifications will be developed at a later stage. If students submit proof of a recognised qualification for exemption from this examination, the pieces performed in Paper 2 should be different from the pieces in the recognised practical examination.

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Paper 6: Creating II (20%) Students are required to submit a portfolio for external assessment. The following items must be included in the portfolio: (i) three or more compositions (16%), the total duration of which should be approximately

10 to 20 minutes, with at least one composition for an ensemble; and (ii) a reflective report (4%). The recording and score of the compositions have to be submitted as well. The compositions submitted in this Paper should not be identical with the pieces in Paper 3. Students may submit proof of a recognised qualification for exemption from this Paper. The conversion of grades based on various recognised qualifications will be developed at a later stage. If students submit proof of a recognised qualification for exemption from this examination, the compositions submitted in Paper 3 should be different from those in the recognised examination.

School-based Assessment

5.6 Apart from Public Assessment, School-based Assessment (SBA) will be introduced into the Senior Secondary Music Curriculum for more comprehensive assessment of students’ learning outcomes, thereby avoiding reliance on a single public examination. SBA has not been used in Music previously, and teachers may not be familiar with this type of assessment. Thus, the pace of introducing SBA will be gradual.

5.7 In general, Music teachers have attained a certain standard in performing, and are well-experienced in assessing students’ music performances. In addition, through daily contact with students, teachers can understand their abilities and learning progress. Thus, SBA is first introduced in Paper 2 (Performing I), which is more suitable and appropriate. Teachers generally are more confident about and show greater acceptance of such arrangement. SBA will only be introduced into other papers when the conditions become more developed.

5.8 The SBA adopted in Paper 2 (Performing I) constitutes 20% of the total score in this subject. Practical examinations, i.e. solo singing/playing, ensemble singing/playing, sight singing and viva voce, will be undertaken in SS2 or SS3 according to student readiness and abilities. Students are allowed to have two or more attempts. Teachers are required to record their performances on audio or video recording and to keep a copy of the scores used in the performances. The students’ results and the relevant records of the best attempt should be submitted for moderation by HKEAA.

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Chapter 6 Effective Use of Learning and Teaching Resources

6.1 Effective use of learning and teaching resources can facilitate student learning and raise learning and teaching quality. A wide variety of appropriate learning and teaching resources on Music are available, and teachers need to exercise professional judgement when selecting appropriate resources. They also need to regularly develop new resources and use them suitably so as to support students’ acquisition of diversified music learning and enhance learning and teaching outcomes.

Learning and Teaching Materials

6.2 There is a wide range of learning and teaching materials on Music, such as the online resource bank developed by EMB, teaching kits, software, Internet resources, reference books, house programmes, newspapers, magazines, scores and audio-visual materials. Teachers need to develop and choose suitable materials to stimulate students’ interest and support their learning. They may classify the materials collected and set up a systematic resource bank to facilitate easy retrieval of appropriate materials for teaching. Teachers should also utilise the school’s intranet system for uploading appropriate learning materials so that students can browse and refer to them at any time. Students should be encouraged to publish their own compositions online, such as the ‘Music Creative Land’ on the Hong Kong Education City’s website, for other students to share and respond critically. Lists of online resources and suggested readings are provided for teachers and students’ reference at Appendices II and III in order to promote students’ reading habits and their capacity for learning to learn.

Facilities and Venues

6.3 Apart from the Music room, teachers can use other suitable venues and facilities in school such as other classrooms, the school hall, the playground, the student activity room, the multimedia learning centre and the library to provide students with beneficial learning conditions and environment. Teachers may discuss with the school authority the installation of suitable peripherals and music software in the multimedia learning centre so that students can use the centre to conduct interactive learning and creating activities using IT aids. Some music activities can be held at larger venues, and some venues such as music room, classrooms, multimedia learning centre and related IT equipment can be made accessible for students’ use to facilitate students’ learning activities and rehearsals during after-school hours. Teachers may set up a listening corner in the library, and use diversified audio-visual

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resources such as audio CDs, video discs, CD-ROMs and scores for students to listen to music extensively, and develop sensitive listening abilities and the capacity for learning how to learn. Wherever possible, teachers can add and update audio equipment in order to provide quality listening facilities for students.

Human Resources

6.4 Teachers are the most valuable human resources. They are lovers of music and role models for their students. They can help stimulate students’ motivation and cultivate their values and attitudes in music learning. Teachers should possess adequate subject knowledge, and participate actively in professional development courses organised by EMB and tertiary institutions in order to enhance their professionalism and deepen their understanding on the latest issues in curriculum development. Besides, colleagues teaching other subjects, students, alumni and parents who are competent in music can help guide students or give demonstrations on various occasions in order to support the learning and teaching of Music. Through discussion with the school authority, teachers may invite professional orchestras or ensembles to give performances in school, or employ musicians-in-schools and part-time music instructors to help promote creating and performing activities. Through close contact with these personnel, students can gain inspiration directly and widen their music horizons.

Financial Resources

6.5 With the implementation of School-based Management, teachers can request funding from their school and sponsoring body with due reference to the development and needs of the subject. Schools may make use of the grants provided by the Government to meet the current and development expenses in Music. Moreover, schools may apply for funding from other sources, such as the Quality Education Fund, the Hong Kong Jockey Club Music and Dance Fund, the parent-teacher association and alumni association, to support the acquisition of additional facilities and other developments of the subject.

Community Resources

6.6 Teachers should fully utilise community resources for students to learn, practise and critically respond to music through participation in music activities organised by various organisations. Teachers may encourage students and make arrangements for them to attend arts and music activities organised by the Leisure and Cultural Services Department, the Music Office, the Hong Kong Arts Festival Society, the Hong Kong Philharmonic Orchestra,

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the Hong Kong Chinese Orchestra, the Hong Kong Sinfonietta and other performing groups, in order to broaden students’ music horizons and facilitate their learning. The music programmes produced by Radio and Television Hong Kong (RTHK) also provide valuable listening resources, and the RTHK publication Fine Music offers useful information on music. Besides, the facilities and resources in public libraries could be utilised for studies. The Hong Kong Central Library, which houses a large collection of different music resources, is an important source for reference materials.

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Chapter 7 Supporting Measures

Curriculum Resources

7.1 The publication Senior Secondary Music Curriculum and Assessment Guide, jointly prepared by the Curriculum Development Council and HKEAA, aims to assist teachers in planning and organising Music learning and teaching. Curriculum resources will be developed by EMB, such as teaching exemplars and the latest learning and teaching materials uploaded to the website of the Arts Education KLA. Such resources include:

Materials on music listening: areas include Chinese instrumental music, Cantonese operatic music and popular music. Exemplars on lesson planning will also be provided for teachers’ reference.

Materials on music creating: there are illustrations on the main foci, procedures and skills of music creating, and analysis of musical works, reading materials and a list of references are provided.

Assessment compilations on music performance: areas include vocal, Cantonese operatic singing as well as Chinese and Western instrumental playing (such as piano, violin, flute, trumpet, erhu, dizi, guzheng, pipa), with illustrations on the main foci of assessing performances, and providing suggestions for improvement on different recordings of students’ performances.

Assessment compilations on compositions: different specialists comment on student compositions and make suggestions for improvement.

7.2 The sample question paper for Paper 1 (Listening) will be provided by HKEAA. Also, some of the existing learning and teaching materials published or jointly produced by EMB can assist schools in implementing the Senior Secondary Music Curriculum. Some such examples are:

Title Year Form 粵劇合士上 2004 Website, Monograph and

CD-ROM An English-Chinese Glossary of Terms Commonly Used in the Teaching of Music in Secondary Schools

2004 Website

中國音樂系列（共四集） 2001 VCD 中國音樂寶庫：胡琴篇 2001 CD-ROM 華夏樂韻 1998 Monograph 粵劇視窗 1997 CD-ROM 音樂教室 1996 Monograph

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Professional Development Programmes

7.3 In order to assist schools in implementing the new Senior Secondary Music Curriculum, a series of professional development programmes will be presented in the form of workshops and seminars. Through participating in these programmes, teachers can understand and grasp the concepts and issues on planning the Senior Secondary Music Curriculum, assessment strategies for learning and teaching, and updated subject knowledge. These programmes will comprise compulsory and elective components, including:

Compulsory Part (about 21 hours): (i) Understanding and interpreting the New Senior Secondary Music Curriculum (6 hours) (ii) Assessment Public assessment (to be provided by HKEAA) (9 hours) Assessment for learning

(to be provided by Curriculum Development Institute) (6 hours) Elective Part (about 51 hours): (i) Learning and teaching strategies (listening, performing and creating) (9 hours) (ii) Enriching knowledge music creating (24 hours) Chinese instrumental music (3 hours) Cantonese operatic music (9 hours) Local and Western popular music (6 hours) 7.4 To cater for teachers’ needs, experts in specific fields such as composing, performing, musicology and music critique will be invited to conduct some of the sessions and share their experience with teachers. Details of these programmes will be announced through the EMB Training Calendar. Besides, teachers should actively note and participate in relevant training programmes organised by different music organisations, training agencies and tertiary institutes to enhance professional subject knowledge and skills.

SEC

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-

App

endi

x I:

Sche

me

of W

ork

Ove

rall

Obj

ectiv

e:

To u

nder

stan

d th

e m

usic

cha

ract

eris

tics o

f Bar

oque

orc

hest

ral s

uite

and

the

devi

ces f

or m

elod

ic d

evel

opm

ent t

hrou

gh p

erfo

rmin

g an

d lis

teni

ng, a

nd to

nu

rture

cre

ativ

ity a

nd c

ritic

al re

spon

se in

mus

ic th

roug

h cr

eatin

g.

Key

Sta

ge:

Key

Sta

ge 4

T

otal

Num

ber

of P

erio

ds: a

bout

8 p

erio

ds, 3

5 m

inut

es p

er p

erio

d

Lear

ning

Tar

gets

*In

tegr

ated

Act

iviti

es

Dat

e M

onth

CI

SP

CR

MC

Lear

ning

Obj

ectiv

es

List

enin

g Pe

rfor

min

g C

reat

ing

Gen

eric

Ski

lls /

Val

ue a

nd A

ttitu

des

Ass

essm

ent

Res

ourc

es#

Stud

ents

will

lear

n to

: 1.

use

appr

opria

te st

yle

to

inte

rpre

t mus

ic w

ith

accu

racy

and

flue

ncy.

2.

des

crib

e an

d an

alys

e m

usic

with

stru

ctur

e.

3. d

escr

ibe

and

anal

yse

the

Bar

oque

orc

hest

ral

suite

in re

latio

n to

its

cultu

ral c

onte

xt.

4. c

reat

e a

com

posi

tion

in

bina

ry fo

rm a

nd n

otat

e it

by u

sing

not

atio

n so

ftwar

e.

5. d

evel

op a

list

of

crite

ria to

app

rais

e co

mpo

sitio

n an

d pe

rfor

man

ces.

Li

sten

to B

ach’

s “M

enue

t” fr

om “

Orc

hest

ral

Suite

No.

2 in

B M

inor

” an

d H

ande

l’s “

La

Rejo

uiss

ance

” fr

om “

Mus

ic fo

r the

Roy

al

Fire

wor

ks”,

com

plet

e th

e lis

teni

ng

wor

kshe

et, d

escr

ibe

and

anal

yse

mus

ic

char

acte

ristic

s suc

h as

: i.

timbr

e of

com

bina

tion

of in

stru

men

ts;

ii.

perf

orm

ance

pra

ctic

es;

iii.

devi

ces f

or m

elod

ic d

evel

opm

ent;

iv.

stru

ctur

e an

d fo

rm.

C

olle

ct in

form

atio

n on

the

two

orch

estra

l su

ites i

ndiv

idua

lly o

r in

grou

ps, a

naly

se a

nd

unde

rsta

nd th

e B

aroq

ue o

rche

stra

l sui

te

with

refe

renc

e to

its c

ultu

ral c

onex

t and

m

ake

brie

f ora

l pre

sent

atio

ns.

D

evel

op a

list

of c

riter

ia fo

r ass

essi

ng th

e co

mpo

sitio

ns a

nd p

erfo

rman

ces s

uch

as:

i. w

heth

er th

e co

mpo

sitio

n ha

s use

d th

e de

vice

s for

mel

odic

dev

elop

men

t ef

fect

ivel

y;

ii.

whe

ther

bin

ary

form

has

bee

n us

ed;

iii.

whe

ther

the

rhyt

hm, p

itch

and

dyna

mic

s in

the

perf

orm

ance

are

ac

cura

te.

C

ondu

ct se

lf an

d pe

er a

sses

smen

t acc

ordi

ng

to p

rede

term

ined

crit

eria

.

Pe

rfor

m B

ach’

s “M

enue

t” fr

om

“Orc

hest

ral S

uite

N

o. 2

in B

Min

or”

with

fam

iliar

in

stru

men

ts.

Pe

rfor

m th

e ei

ght-b

ar m

elod

y co

mpo

sed

by o

ther

cl

assm

ates

.

Perf

orm

in g

roup

s th

e co

mpo

sitio

ns in

bi

nary

form

.

C

reat

e an

ei

ght-b

ar m

elod

y ba

sed

on th

e de

vice

s for

m

elod

ic

deve

lopm

ent u

sed

in th

e tw

o or

ches

tral s

uite

s.

Cre

ate

in g

roup

s a

com

posi

tion

in

bina

ry fo

rm a

nd

nota

te it

usi

ng

nota

tion

softw

are.

Mak

e br

ief o

ral

pres

enta

tions

on

the

crea

ting

proc

ess.

C

reat

ivity

Crit

ical

thin

king

sk

ills

Pr

oble

m-

solv

ing

skill

s

Com

mun

icat

ion

skill

s

Col

labo

ratio

n sk

ills

St

udy

skill

s

Num

erac

y sk

ills

IT

skill

s

Res

pect

oth

ers’

cr

eativ

e w

orks

an

d op

inio

ns

A

sses

s stu

dent

s’

perf

orm

ing

skill

s

Use

list

enin

g w

orks

heet

to a

sses

s st

uden

ts’ a

bilit

y to

id

entif

y th

e m

usic

ch

arac

teris

tics o

f th

e B

aroq

ue

orch

estra

l sui

te.

A

sses

s ora

l pr

esen

tatio

ns.

A

sses

s stu

dent

s’

com

posi

tions

and

pe

rfor

man

ces

acco

rdin

g to

pr

edet

erm

ined

cr

iteria

.

Obs

erve

stud

ents

’ de

velo

pmen

t in

attit

udes

and

ge

neric

skill

s in

orde

r to

adju

st th

e le

arni

ng a

nd

teac

hing

stra

tegi

es

acco

rdin

gly.

Sc

ores

, aud

io

reco

rdin

gs

and

a lis

teni

ng

wor

kshe

et o

n B

ach’

s “O

rche

stra

l Su

ite N

o. 2

in

B M

inor

” an

d H

ande

l’s

“Mus

ic fo

r th

e R

oyal

Fi

rew

orks

”

Com

pute

r an

d no

tatio

n so

ftwar

e

Onl

ine

reso

urce

s

Self

and

peer

as

sess

men

t fo

rm

* Le

arni

ng T

arge

ts:

C

I – D

evel

opin

g C

reat

ivity

and

Imag

inat

ion

SP –

Dev

elop

ing

Mus

ic S

kills

and

Pro

cess

es

CR

– C

ultiv

atin

g C

ritic

al R

espo

nses

in M

usic

M

C –

Und

erst

andi

ng M

usic

in C

onte

xt

# So

urce

s:

Bac

h, Jo

hann

Seb

astia

n. O

rche

stra

l Sui

te N

o. 2

in B

Min

or. (

Kas

sel:

Bär

enre

iter-

Ver

lag,

198

3)

Han

del,

Geo

rge

Frie

dric

h. M

usic

for t

he R

oyal

Fir

ewor

ks. (

Kas

sel:

Bär

enre

iter-

Ver

lag,

197

6)

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Appendix II: Resources on the Internet

Hong Kong Government Bureaux, Departments and Related Organisations

Curriculum Development Council http://cd.emb.gov.hk/cdc.asp

Curriculum Development Institute http://cd.emb.gov.hk/

Curriculum Development Institute Arts Education Section

http://cd.emb.gov.hk/arts/

Education and Manpower Bureau http://www.emb.gov.hk/

Hong Kong Examinations and Assessment Authority

http://www.hkeaa.edu.hk/

Radio Television Hong Kong http://www.rthk.org.hk/

Overseas Government Bodies and Organisations

Board of Studies NSW Australia http://www.boardofstudies.nsw.edu.au/

Council of Ministers of Education, Canada

http://www.cmec.ca/

Curriculum Council of Western Australia

http://www.curriculum.wa.edu.au/

International Society for Contemporary Music

http://www.iscm.nl/

International Society for Music Education

http://www.isme.org/

MENC – The National Association for Music Education

http://www.menc.org/

Ministry of Education, Singapore http://www.moe.gov.sg/

Ministry of Education, New Zealand

http://www.minedu.govt.nz/

Ministry of Education, Ontario http://www.edu.gov.on.ca/

National Grid for Learning http://www.ngfl.ac.uk/

Qualifications and Curriculum Authority, UK

http://www.qca.org.uk/

The Standards Site http://www.standards.dfee.gov.uk/

U.S. Department of Education http://www.ed.gov/

Victorian Curriculum and Assessment Authority, Australia

http://www.vcaa.vic.edu.au/

Local Tertiary Institutes

Department of Creative Arts, Hong Kong Institute of Education

http://www.ied.edu.hk/ca/

Department of Music and Fine Arts, Hong Kong Baptist University

http://arts.hkbu.edu.hk/dept_mfa.asp

Department of Music, Chinese University of Hong Kong

http://www.cuhk.edu.hk/mus/

Department of Music, University of Hong Kong

http://www.hku.hk/music/

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Hong Kong Academy for Performing Arts

http://www.hkapa.edu/

Chinese Music

Chinese Music Archive, Music Department, Chinese University of Hong Kong

http://www.cuhk.edu.hk/mus/cma/

Chinese Opera Information Centre, Music Department, Chinese University of Hong Kong

http://corp.mus.cuhk.edu.hk/

Music of China http://www.musicofchina.com/

中國民族音樂在綫† http://www.huain.com/

中國音樂小天地† http://resources.emb.gov.hk/chimusic/

中國戲曲查篤撐† http://www.rthk.org.hk/chiculture/chiopera/

中樂尋珍† http://www.rthk.org.hk/chiculture/china_music/main.htm

表演藝術† http://big5.ccnt.com.cn/show/

粵劇合士上† http://resources.emb.gov.hk/~chiopera

Popular Music

Beatles.com http://www.thebeatles.com/

Elvis.com http://www.elvis.com

知音網裡尋 Sam Hui 許冠傑† http://www.samhuiwun.com/

論盡填詞人† http://www.skymelody.com.hk/lyrics_writer/samhui.html

粵語流行歌曲－維基百科† http://zh.wikipedia.org/wiki/%E7%B2%A4%E8%AF%AD%E6%B5%81%E8%A1%8C%E6%AD%8C%E6%9B%B2

Directories of Links

BBS-faq http://www.faqs.org/faqs/music/

Internet Resources: Music Databases – The Loeb Music Library Web Site

http://hcl.harvard.edu/loebmusic/online-ir-databases.html

Music Information Resources http://www.library.ucsb.edu/subj/music.html

Worldwide Internet Music Resources: Outline

http://www.music.indiana.edu/music_resources/outline.html

† Website available in Chinese only.

Note: As there may be changes to the above websites from time to time, the Education and manpower Bureau cannot ascertain their availability.

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Appendix III: Reading Materials

To widen students’ scope of knowledge and vision, teachers should purchase suitable books with reference to schools’ needs and students’ levels. They should also encourage students to borrow books from public libraries.

(1) General

Book / Serial Title Author Publisher YearThe Cambridge Music Guide ed. Stanley Sadie,

Alison Latham Cambridge: Cambridge University

Press 1990

The Concise Oxford Dictionary of Music (4th ed.) ed. Michael Kennedy, Joyce Bourne

Oxford: Oxford University Press 2004

Fortissimo! Roy Bennett Cambridge: Cambridge University Press

1996

General Musicianship Roy Bennett Cambridge: Cambridge University Press

1984

The Harper Collins Dictionary of Music (2nd ed.) Christine Ammer New York: Harper Perennial 1991Keynote: Music to GCSE Tim Cain Cambridge: Cambridge University

Press 1988

The New Harvard Dictionary of Music ed. Don Michael Randel

Cambridge, Mass.: Harvard University Press

1986

Webster’s New World: Dictionary of Music Nicholas Slonimsky New York: Wiley Publishing, Inc. 1998大陸音樂辭典（第十一版） 康謳 主編 台北：大陸書店 1995中外名曲欣賞 孫繼南 主編 濟南：山東教育 1985中國民族音樂大觀 秦咏誠，魏立 主編 瀋陽：中國瀋陽 1989中國民族基本樂理 杜亞雄 北京：中國文娛 1995中國音樂詞典 丹青藝叢編委會 編 台北：丹青圖書 1986中國音樂詞典續編 中國藝術研究院音

樂研究所《中國音

樂詞典》編輯部 編

北京：人民音樂 1992

(2) Listening

Western Music Book / Serial Title Author Publisher Year

Classical Music: A Concise History from Gluck to Beethoven

Julian Rushton New York: Thames and Hudson 1986

The Enjoyment of Music (9th ed.) Joseph Machlis, Kristine Forney

New York: W. W. Norton & Co. 2003

History of Music Roy Bennett Cambridge: Cambridge University Press

1982

Listening to Music Jay D. Zorn New Jersey: Prentice Hall 1991Modern Music: A Concise History from Debussy to

Boulez Paul Griffiths New York: Thames and Hudson 1978

An Outline History of Music (9th ed.) Milo Wold, et al. Iowa: Wm. C. Brown 1997Romantic Music: A Concise History from Schubert

to Sibelius Arnold Whittal London: Thames and Hudson 1987

Score-Reading Roy Bennett Cambridge: Cambridge University Press

1986

世界名曲欣賞﹙上﹚ 楊民望 上海：上海音樂 1991世界名曲欣賞﹙下﹚ 楊民望 上海：上海音樂 1991

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Book / Serial Title Author Publisher Year西方音樂――從現代到後現代 宋謹 上海：上海音樂 2004西方現代音樂概述 鍾子林 北京：人民音樂 1991音樂欣賞﹙第三版﹚ 鄔里希 台北：大陸書店 1984音樂教室 徐允清 編 香港：香港電台第四台 1996音樂課 Roger Kamien，徐

德譯 海口：海南 2004

Chinese Instrumental Music Book / Serial Title Author Publisher Year

大型民族管弦樂作品賞析 陳明志 主編 香港：香港中樂團 2004不可不知的中國音樂 鍾鳴遠 編著 北京：華夏 2004中國民族音樂大系 – 古代音樂卷 東方音樂學會 編 上海：上海音樂 1989中國民族音樂大系 – 民族器樂卷 東方音樂學會 編 上海：上海音樂 1989中國民族音樂欣賞 江明惇 編著 北京：高等教育 1991中國民族音樂概述 肖常緯 編著 重慶：西南師範大學 1999中國民族管弦樂發展的方向與展望－中樂發展

國際研討會論文集 余少華 主編 香港：香港臨時市政局 1997

中國音樂欣賞 修海林，李吉提 台北：五南圖書 2002中國音樂通識 何洪祿 編著 鄭州：河南人民 2003中國音樂鑒賞 岳英放 編著 鄭州：河南人民 2003中國琵琶史稿 韓淑德，張之年 成都：四川人民 1985中國傳統音樂概論 袁靜芳 上海：上海音樂 2000中國傳統音樂賞析 姚藝君 編著 長春：吉林音像 1999中國樂器介紹﹙修訂版﹚ 中國藝術研究院音

樂研究所 北京：人民音樂 1985

中樂因你更動聽 - 民族管弦樂導賞（全兩冊） 陳明志 香港：三聯 2004古琴初階 沈草農，查阜西，張

子謙 編著 北京：音樂 1961

古琴音樂藝術 葉明媚 香港：商務 1991古琴藝術與中國文化 葉明媚 香港：中華 1994民族音樂問題的探索 李元慶 北京：人民音樂 1983民族器樂 袁靜芳 北京：人民音樂 1987民族器樂的體裁與形式 葉棟 編著 上海：上海音樂 1997民族器樂知識廣播講座 李民雄 北京：人民音樂 1987民族器樂概論 高厚永 江蘇：江蘇人民 1981民族器樂廣播講座 中央人民廣播電台

文藝部音樂組 編

北京：人民音樂 1981

探討中國音樂在現代的生存環境及其發展座談

會論文集 陳明志 主編 香港：香港中樂團 2004

琵琶名曲選淺說 林石城 北京：人民音樂 1999琴史初編 許健 編著 北京：人民音樂 1982傳統民族器樂曲欣賞 李民雄 編著 北京：人民音樂 1983粵樂 黎田，黃家齊 韶關：廣東人民 2003樂種學 袁靜芳 北京：華樂 1999

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Cantonese Operatic Music Book / Serial Title Author Publisher Year

Improvisation in a Ritual Context: The Music of Cantonese Opera

Sau Y. Chan Hong Kong: The Chinese University Press

1991

中國民族音樂大系 – 戲曲音樂卷 東方音樂學會 編 上海：上海音樂 1989南音粵謳的詞律曲韻 陳志清 香港：文學報社 1999香港粵劇口述史 黎鍵 編錄 香港：三聯 1993香港粵劇時蹤 黎鍵 編錄 香港：市政局公共圖書館 1998香港粵劇劇目初探﹙任白卷﹚ 陳守仁 香港：香港中文大學粵劇研究計劃 2005香港粵劇導論 陳守仁 香港：香港中文大學粵劇研究計劃 1999神功戲在香港：粵劇、潮劇及福佬劇 陳守仁 香港：三聯 1996粵曲欣賞手冊 邱桂英 編 南寧：廣西南寧地區青年粵劇團 1992粵曲的學和唱：王粵生粵曲教程 陳守仁 香港：香港中文大學粵劇研究計劃 1996粵曲唱腔的基礎：王粵生粵曲教材選集 陳守仁 香港：香港中文大學粵劇研究計劃 1993粵曲探索 陳亦祥 廣州：廣州出版社 1995粵劇音樂的探討 陳守仁 編 香港：香港中文大學粵劇研究計劃 2001粵劇唱腔音樂概論 廣東省戲劇研究室

編 北京：人民音樂 1984

儀式、信仰、演劇：神功粵劇在香港 陳守仁 香港：香港中文大學粵劇研究計劃 1996

Popular Music Book / Serial Title Author Publisher Year

The Complete Guide to the Music of the Beatles (2nd ed.)

John Robertson, Patrick Humphries

New York: Omnibus Press 2004

A Day in the Life: The Music and Artistry of the Beatles (reprint ed.)

Mark Hertsgaard Westminster: Bantam Dell Pub Group 1996

Elvis Presley: The Complete Guide to His Music John Robertson New York: Omnibus Press 2004A Guide to Rock ‘n’ Pop (2nd ed.) Peter Dunbar-Hall,

Glenda Hodge Marrickville: Science Press 1993

Popular Music & Society Brian Longhurst Cambridge: Polity Press 1995Popular Music in the 20th Century Colin Cripps Cambridge: Cambridge University

Press 1988

Studying Popular Music Richard Middleton Buckingham: Open University Press 1990光天化日下的流行――親歷中國流行音樂 金兆鈞 北京：人民音樂 2002李皖的耳朵 李皖 北京：外文 2001見証披頭士：搖滾巨星親口講述的歷史 戴維．普利查德，艾

倫．萊薩特／孫仲

旭譯

北京：人民音樂 2003

音樂敢言――香港「中文歌運動」研究 朱耀偉 編著 香港：匯智出版 2001音樂敢言之二――香港「原創歌運動」研究 朱耀偉 編著 香港：Bestever Consultants 2004香港流行音樂文化：文化研究讀本 馮應謙 香港：麥穗匯智 2004流行音樂的文化 Andy Bennett，孫

憶南譯 台北：書林 2004

許冠傑 Sam Hui 羅卡 編 香港：明窗 1996傾聽就是歌唱――酷評流行樂 李皖 四川：四川文藝 2001

(3) Performing

Book / Serial Title Author Publisher YearThe Art of Practicing: Making Music From The

Heart Madeline Bruser New York: Bell Tower 1997

The Art of Violin Playing Carl Flesch Carl Fischer Music Distribution 2000Casals and the Art of Interpretation David Blum London: Heinemann 1977Choral Method: 333 Reading Exercises Zoltán Kodály London: Boosey & Hawkes 1972

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Book / Serial Title Author Publisher YearChoral Method: Let Us Sing Correctly Zoltán Kodály London: Boosey & Hawkes 1952Confident Music Performance: The Art of

Preparing Barbara

Schneiderman St. Louis: MMB Music 1991

Essay on the True Art of Playing Keyboard Instruments

Carl Philipp Emanuel Bach, trans. William J. Mitchell

London: Eulenburg Books 1974

Form and Performance Erwin Stein New York: Limelight Editions 1989History, Imagination and the Performance of Music Peter Walls Woodbridge; Rochester: Boydell

Press 2003

How to Sing Graham Hewitt New York: Taplinger Publishing Co. 1978The Interpretation of Music Thurston Dart London: Hutchinson 1984The Jenson Sight Singing Course Volume I David Bauguess New Berlin: Jenson Publications Inc. 1984The Jenson Sight Singing Course Volume II David Bauguess New Berlin: Jenson Publications Inc. 1985Music By Heart Lilias Mackinnon Westport: Greenwood Press 1981Music Unlimited!: The Performer’s Guide to New

Audiences Isabel Farrell,

Kenton Mann Chur; Philadelphia: Harwood

Academic Publishers 1994

Musical Performance: A Guide to Understanding ed. John Rink Cambridge; New York: Cambridge University Press

2002

Musical Structure And Performance Wallace Berry New Haven: Yale University Press 1989A New Approach to Sight Singing (rev. ed.) Sol Berkowitz,

Gabriel Fontrier, Leo Kraft

New York: W. W. Norton & Company, Inc.

1976

Principles of Violin Playing and Teaching (3rd ed.) Ivan Galamian Shar Products Co 1999A Performer’s Guide to Music of the Baroque

Period ed. Anthony Burton London: The Associated Board of the

Royal Schools of Music 2002

A Performer’s Guide to Music of the Classical Period

ed. Anthony Burton London: The Associated Board of the Royal Schools of Music

2002

A Performer’s Guide to Music of the Romantic Period

ed. Anthony Burton London: The Associated Board of the Royal Schools of Music

2002

Performing Baroque Music Mary Cyr Aldershot: Scolar Press 1992Performing Music: Shared Concerns Jonathan Dunsby Oxford: Claredon Press 1996Performing Twentieth-century Music: A Handbook

for conductors and Instrumentalists Arthur Weisberg New Haven: Yale University Press 1993

The Performing World of the Musician Christopher Headington

London: Hamish Hamilton 1981

The Practice of Performance: Studies in Musical Interpretation

ed. John Rink Cambridge; New York: Cambridge University Press

1995

The Science & Psychology of Music Performance ed. Richard Parncutt, Gary E. McPherson

New York: Oxford University Press 2002

Sing at Sight: 160 Easy Graded Sight-reading Exercises

William Appleby London: Oxford University Press 1960

Solfège des Solfèges Book I A. Dannhäser, trans. J. H. Cornell

New York; London: G. Schirmer 1891

Specimen Sight-Singing Tests: Grades 1-5 The Associated Board of the Royal Schools of Music

London: The Associated Board of the Royal Schools of Music

1996

The Unashamed Accompanist Gerald Moore Strand: Methuen & Co. 1943音樂演奏的實際探討 徐頌仁 台北：全音樂譜 1988

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(4) Creating

Book / Serial Title Author Publisher YearAdvanced Harmony, Melody & Composition Paul Sturman Burnt Mill: Longman 1986Analysis Through Composition: Principles of the

Classical Style Nicholas cook Oxford: Oxford University Press 1996

Composing – A Student’s Guide Christopher Binns Thomas Nelson and Sons Ltd. 1996Form and Design Roy Bennett Cambridge: Cambridge University

Press 1980

Harmony And Voice Leading Volume 1 Edward Aldwell, Carl Schachter

New York: Harcourt Brace Jovanovich, Publishers

1978

Harmony Handbook Mark Ellis Malaysia: Penerbit Muzikal 1994Instrumentation and Orchestration (2nd ed.) Alfred Blatter New York: Schirmer Books 1997Learning to Compose John Howard Cambridge: Cambridge University

Press 1990

Music Theory George Thaddeus Jones

New York: Barnes & Noble Books 1974

Musical Form: Studies in Analysis and Synthesis Ellis B. Kohs Boston: Houghton Mifflin 1976New Music Composition David Cope New York: Schirmer Books 1977Rock, Jazz and Pop Arranging: all the facts and all

the know-how Daryl Runswick London: Faber Music 1992

Sound & Structure John Paynter Cambridge; New York: Cambridge University Press

1992

The Technique of Orchestration Kent Kenna, Donald Grantham

Englewood Cliffs: Prentice Hall 1990

Techniques of Twentieth Century Composition (3rd ed.)

Leon Dallin Iowa: Wm. C. Brown 1974

中國民族曲式 李西安，軍馳 編著 北京：人民音樂 1985中國音樂理論作曲新解 葉志明 台北：天同 1982中國風格和聲與作曲 黃友棣 臺灣：正中書局 1969中國傳統樂理基礎教程 童忠良 等編 北京：人民音樂 2004民族管弦樂法 胡登跳 上海：上海文藝 1982作曲基礎教程 楊青 編著 北京：高等教育 1991

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References

The following references are by no means exhaustive. They are listed as examples for convenient reference.

Abeles, Harold F., Charles R. Hoffer and Robert H. Klotman. Foundations of Music Education. 2nd ed. New York: Shirmer, 1994.

Assessment and Qualifications Alliance. General Certificate of Secondary Education: Music 2006 Specification. Oxon: Assessment and Qualifications Alliance, 2004.

Board of Senior Secondary School Studies, Queensland. Music Senior Syllabus. Queensland: Board of Senior Secondary Schools Studies, 1995.

Board of Studies, New South Wales. The New Higher School Certificate Assessment Support Docuoment. New South Wales: Board of Studies, 1999.

Board of Studies, Victoria. Music Performance: Study Design. Victoria: Board of Studies, 2000.

———. Music Style: Study Design. Victoria: Board of Studies, 2000.

Creative Arts and Home Economics Section (Music), Advisory Inspectorate Division, Education Department, HK. The Application of Information Technology in the Teaching of Music: Handbook for Music Teachers. Hong Kong: Creative Arts and Home Economic Sections (Music), Advisory Inspectorate Division, Education Department, 1999.

Curriculum Council, Western Australia. 2004 – 2005 Syllabus Manual (Year 11 and Year 12 Subjects). Vol. V: The Arts. Osborne Park: Curriculum Council, (year of publication unknown).

Curriculum Council, Western Australia. Curriculum Framework for Kindergarten to Year 12 Education in Western Australia. Osborne Park: Curriculum Council, 1998.

Curriculum Development Council, HK. Arts Education Key Learning Area Curriculum Guide (Primary 1 – Secondary 3). Hong Kong: Curriculum Development Council, 2002.

———. Arts Education Key Learning Area Music Curriculum Guide (Primary 1 – Secondary 3). Hong Kong: Curriculum Development Council, 2003.

———. Basic Education Curriculum Guide: Building on Strengths (Primary 1 – Secondary 3). Hong Kong: Curriculum Development Council, 2002.

———. Guide to the Secondary 1 to 5 Curriculum. Hong Kong: Curriculum Development Council, 1993.

———. A Holistic Review of the Hong Kong School Curriculum: Proposed Reforms Consultative Document. Hong Kong: Curriculum Development Council, 1999.

———. Learning to Learn: Key Learning Area, Arts Education, Consultation Document. Hong Kong: Curriculum Development Council, 2000.

———. Learning to Learn: The Way Forward in Curriculum Development, Consultation Document. Hong Kong: Curriculum Development Council, 2000.

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Curriculum Planning & Development Division, Ministry of Education, Singapore. Music Syllabus (Secondary). Singapore: Ministry of Education, (year of publication unknown).

Culture and Heritage Commission, HK. Culture and Heritage Commission Consultation Paper 2002. Hong Kong: Culture and Heritage Commission Secretariat, 2002.

Department for Education, UK. Music in the National Curriculum. London: HMSO, 1995.

Department for Education and Employment, UK, and Qualifications and Curriculum Authority, UK. Music: The National Curriculum for England. London: Department for Education and Employment and Qualifications and Curriculum Authority, 1999.

Department of Education and Science, UK. Music from 5 to 16. London: H.M.S.O., 1985.

Durrant, Colin, and Graham Welch. Making Sense of Music: Foundations for Music Education. London: Cassell, 1995.

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Gronlund, N. E.. Assessment of student achievement. 7th ed. Boston: Allyn and Bacon, 2003.

Harris, Ruth, and Elizabeth Hawksley. Composing in the Classroom. Cambridge: Cambridge University Press, 1989.

Hickey, Maud, ed. Why and How to Teach Music Composition: A New Horizon for Music Education. Reston: The National Association for Music Education, 2003.

Hoffer, Charles R. Teaching Music in the Secondary Schools. 4th ed. Belmont, California: Wadsworth, 1991.

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Lambert, Richard. GCSE Music. London: Longman, 1997.

Leask, Marilyn, and Norbert Pachler, ed. Learning to Teach Using ICT in the Secondary School. London: Routledge, 1999.

Mark, Michael L. Contemporary Music Education. 3rd ed. Belmont: Shirmer, 1996.

David J. Hargreaves, and Adrian C. North ed. Musical development and learning: The international perspective. London, New York: Continuum, 2001.

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Oosterhof, Albert. Developing and using classroom assessments. Upper Saddle River, New Jersey: Prentice Hall, 2003.

Paynter, John. Music in the Secondary School Curriculum. Cambridge: Cambridge University Press, 1982.

Peters, G. David, and Robert F. Miller. Music Teaching and Learning. London: Longman, 1982.

Philpott, Chris, ed. Learning to Teach Music in the Secondary School: A Companion to School Experience. London: RoutledgeFalmer, 2001.

Pits, S. A century of change in music education: Historical perspectives on contemporary practice in British secondary school music. Aldershot: Ashgate, 2000.

Plummeridge, Charles. Music Education in Theory and Practice. London: The Falmer Press, 1991.

Popham, W. James. Classroom assessment: What teachers need to know. 4th ed. Boston: Allyn and Bacon, 2005.

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Reimer, Bennet. A Philosophy of Music Education: Advancing the Vision. 3rd ed. Upper Saddle River: Prentice Hall, 2003.

Roblyer, M. D., and Jack Edwards. Integrating Educational Technology into Teaching. 2nd ed. Upper Saddle River: Merrill, 2000.

Rudolph, Thomas E. Teaching Music with Technology. Chicago: GIA Publications, 1996.

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———. Teaching Music Musically. London: Routledge, 1999.

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Wheway, David, and Shelagh Thomson. Explore Music Through Art: 18 Varied National Curriculum Music Activities Linked to the Art Attainment Targets. Oxford: Oxford University Press, 1993.

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任長松。《走向新課程：中國面向 21 世紀基礎教育課程改革藍圖》。香港：中文大學出版社，2003。

朱則平，廖應文主編。《全日制義務教育：音樂課程標準教師讀本》。武漢：華中師範大學出版社，2003。

余民寧。《敎育測驗與評量：成就測驗與敎學評量》。台北：心理出版社，2002。

李凌，趙渢主編。《世界音樂教育集粹》。北京：中國文聯出版社，1988。

林月娥主編。《多元評量》。陳江松等著。台北：聯經出版社，1999。

姚思源主編。《中國當代學校音樂教育文獻：1949-1995》。上海：上海教育出版社，1999。

郁文武，謝嘉幸編著。《音樂教育與教學法》。北京：高等教育出版社，1991。

音樂課程標準研制組編。《普通高中音樂課程標準﹙實驗﹚解讀》。南京：江蘇教育出版社，2004。

徐沛然。《深圳教學論壇》。廣洲：廣東科技出版社，1998。

郭聲健。《音樂教育論》。長沙：湖南文藝出版社，2004。

修海林。《中國古代音樂教育》。上海：上海教育出版社，1997。

教育部，中華人民共和國。《音樂課程標準：實驗稿》。北京：北京師範大學出版社，2001。

———。《藝術課程標準：實驗稿》。北京：北京師範大學出版社，2001。

———。《普通高中音樂課程標準﹙實驗﹚》。北京：人民教育出版社，2003。

教育部，基礎教育司組織編。《全日制義務教育音樂課程標準解讀﹙實驗稿﹚》。北京：北京師範大學出版社，

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