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Contents

Membership of the Curriculum Development Council Committee on

Arts Education i

Membership of the Ad Hoc Committee of Music Curriculum Development iv

Preamble vi

1 Introduction 1

1.1 Rationale of Music Curriculum 3

1.2 Music Curriculum - Retrospect and the Way Forward 4

2 Curriculum Framework 9

2.1 Overall Aims of Music Curriculum 11

2.2 Curriculum Framework 11

2.3 Learning Targets and Learning Objectives 12

2.3.1 Learning Targets 12

2.3.2 Learning Objectives Leading to the Four Learning Targets 13

2.4 Generic Skills 14

2.5 Values and Attitudes 15

3 Curriculum Planning 17

3.1 Central Curriculum and School-based Curriculum Development 19

3.2 Time Allocation 20

3.3 Music Concepts and Examples of Learning Activities 21

3.3.1 Music Concepts 21

3.3.2 Examples of Learning Activities Leading to the Learning Objectives 22

3.4 Scheme of Work 31

3.5 Learning Across the Arts 32

3.6 Learning Across the KLAs 33

3.7 Life-wide Learning 34

4 Learning and Teaching 37

4.1 Guiding Principles 39

4.1.1 Adapting the School-based Arts Education Policy 39

4.1.2 Diversified Roles of Teachers 39

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4.1.5 Understanding Students’ Music Background 41

4.1.6 Integrating Students’ Daily Experiences 41

4.1.7 Adopting Rich Learning and Teaching Materials 42

4.2 Integrated Music Activities 42

4.2.1 Creating 43

4.2.2 Performing 50

4.2.3 Listening 59

4.3 Integrative Learning in the Arts 62

4.4 Four Key Tasks 62

4.4.1 Project Learning 62

4.4.2 Information Technology for Interactive Learning 64

4.4.3 Moral and Civic Education 66

4.4.4 Reading to Learn 67

4.5 Catering for Student Diversity 68

4.6 Homework 69

5 Assessment 71

5.1 Conceptual Framework for Assessment 73

5.2 Aims of Assessment 74

5.3 Principles of Assessment 75

5.4 Areas of Assessment 75

5.5 Diversified Modes of Assessment 77

5.6 Reporting 78

6 Learning and Teaching Resources 81

6.1 Textbooks 83

6.2 Quality Learning and Teaching Resources 84

6.2.1 Human Resources 84

6.2.2 Financial Resources 85

6.2.3 Community Resources 86

6.3 Management of Learning and Teaching Resources 87

Exemplars 89

Scheme of Work (1) 92

Scheme of Work (2) 93

Scheme of Work (3) 94

Scheme of Work (4) 95

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Scheme of Work (5) 96

Scheme of Work (6) 97

Scheme of Work (7) 98

Scheme of Work (8) 99

Teaching Exemplar 1: “Dots and Lines” 100

Teaching Exemplar 2: Musical “Save the Earth” 105

Teaching Exemplar 3: “Campus Radio - Our Chek Lap Kok Airport” 110 Teaching Exemplar 4: Project Learning - “Getting to Know the

Chinese Instruments” 116

Assessment Exemplar I: Classroom Performance 124

Assessment Exemplar II: Worksheets 125

Assessment Exemplar III: Practical Test 133

Assessment Exemplar IV: Listening Test 136

Assessment Exemplar V: Concert Report 143

Assessment Exemplar VI: Project Learning 145

Assessment Exemplar VII: Self and Peer Assessment 151

Assessment Exemplar VIII: Music Activities Record 152

Assessment Exemplar IX: Report of Performance in Music 153

Appendices 154

Appendix I: Resources on the Internet 154

Appendix II: Reading Materials 160

Appendix III: Supporting Curriculum Resources of Music Learning and

Teaching 164

References 165

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Membership of the Curriculum Development Council Committee on

Arts Education

(from 1 September 1999)

Chairperson:

Ms LAM Yee-wah, Evelyn - CCC Heep Woh College

(Member from 6.9.2000 to 31.8.2001; Chairperson from 1.9.2001)

Mr TSANG Kui-woon - NTWJWA Leung Sing Tak Primary School (AM) (Member from 1.9.1999 to 31.8.2000; Chairperson from 1.9.2000 to 31.8.2001) Mr CHANG Cheuk-cheung, Terence - Jockey Club Ti-I College

(from 1.9.1999 to 31.8.2000) Vice-chairperson:

Mrs YEN CHUNG Chui-lan - Arts Education Section, Curriculum Development Institute, Education and Manpower Bureau

(from 1.1.2003 to 31.8.2003)

Dr CHAM LAI Suk-ching - Arts Education Section, Curriculum Development Institute, Education Department

(Ex-officio Member from 1.9.1999 to 2.7.2000; Vice-chairperson from 3.7.2000 to 14.7.2002) Mr SOU Hon-poo - Arts and Physical Education Section, Curriculum Development Institute, Education Department

(from 13.12.1999 to 2.7.2000)

Mr KWAN Siu-kam - Arts and Physical Education Section, Curriculum Development Institute, Education Department

(from 1.9.1999 to 12.12.1999) School Heads:

Sr WONG Kam-lin, Margaret - St Paul’s Convent School (from 1.9.2000)

Mr LEE Fu-sing - YCH Choi Hin To Primary School (from 1.9.1999)

Mr NG Shun-cheong - Ng Clan’s Association Tai Pak Memorial School (from 1.9.1999)

Mrs TOO SO Kwok-chun - St Stephen’s Girls’ College (from 1.9.1999 to 5.9.2000)

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School Teachers:

Mr CHENG Ho-Kit - Farm Road Government Primary School (from 1.9.2001)

Ms CHEUNG Shuk-yee - Stewards Pooi Tun Secondary School (from 1.9.2001)

Ms NG Bo-yin - Salesian Yip Hon Primary School (PM) (from 1.9.2001)

Ms WONG Siu-to - Ying Wa Girls’ School (from 1.9.2001)

Ms CHEUNG Wai-fong - Hong Kong School for the Deaf (from 1.9.1999)

Ms KWOK Yuk-mei - Tack Ching Girls’ Middle School (from 1.9.1999)

Ms LEUNG Mei-mei, Marietta - Delia Memorial School (Broadway) (from 1.9.1999 to 31.8.2001)

Ms TSE Sui-wah - Creative Primary School (from 1.9.1999 to 31.8.2001)

Mrs WONG NG Yuk-fai - CCC Kei Heep Secondary School (from 1.9.1999 to 31.8.2001)

Member from CDC Committee on Early Childhood Education:

Ms LAI Fung-har - YCH Wing Lung Child Care Centre (from 1.9.2001)

Ms CHENG Mei-lin - School of Early Childhood Education, The Hong Kong Institute of Education (from 1.9.1999 to 31.8.2001)

Member from CDC Committee on Special Educational Needs:

Mr CHU Kai-man - John F Kennedy Centre (from 1.9.1999)

Members from Tertiary Institutions:

Prof CHAN Wing-wah - Department of Music, The Chinese University of Hong Kong (from 1.9.1999)

Dr CHEUNG YUNG Wai-yee - Department of Creative Arts, The Hong Kong Institute of Education (from 1.9.1999)

Ms HU, Catherine - School of Design, The Hong Kong Polytechnic University (from 1.9.1999)

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Members from Related Professional Bodies or Related Field:

Mr HO Siu-kee - Art School, Hong Kong Arts Centre (from 30.4.2001)

Mr WONG Tim-keung, Simon - Ming Ri Institute of Arts Education (from 1.9.1999)

Mr CHOI Kam-chuen, Jimmy - Film and Video Department, Hong Kong Arts Centre (from 1.9.1999 to 29.4.2001)

Co-opted Members:

Ms LUK Yun-mee - Sacred Heart Canossian College (from 6.11.2001)

Mr TSAO Sing-yuen, Willy - City Contemporary Dance Company (from 17.1.2000 to 31.8.2001)

Ex-officio Member:

Mr YEUNG Wai-fung - Inspection Section, Quality Assurance Division, Education and Manpower Bureau

(from 5.12.2000) Secretary:

Mr FONG Kam-yuen, Francis - Arts Education Section, Curriculum Development Institute, Education and Manpower Bureau

(Secretary from 29.1.2001 to 14.7.2002 and from 1.1.2003 to 27.10.2003; Vice-chairperson from 15.7.2002 to 31.12.2002)

Mr YEH Cheung-shing - Arts Education Section, Curriculum Development Institute, Education Department

(from 1.9.1999 to 16.1.2000; from 1.8.2000 to 28.1.2001; from 15.7.2002 to 31.12.2002)

Dr NG NG Yuen-fun, Fanny - Arts and Physical Education Section, Curriculum Development Institute, Education Department

(from 17.1.2000 to 31.7.2000)

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Membership of the Ad Hoc Committee of Music Curriculum Development

(from 8 December 2000 to 7 May 2003)

Chairperson:

Mr TAI Kit-man - Arts Education Section, Curriculum Development Institute, Education and Manpower Bureau

(from 3.9.2001)

Mr FONG Kam-yuen, Francis - Arts Education Section, Curriculum Development Institute, Education Department

(from 5.2.2001 to 2.9.2001)

Dr CHAM LAI Suk-ching - Arts Education Section, Curriculum Development Institute, Education Department

(from 8.12.2000 to 4.2.2001) Members:

Ms AU Yuen-sheung - PLK Luk Hing Too Primary School (from 8.12.2000 to 23.8.2002)

Mr CHEUNG Chi-hong - Tak Sun School (PM)

Ms CHU On-lai - CCC Kei Wan Primary School (AM)

Miss CHUNG Kwok-wah - Catholic Ming Yuen Secondary School Ms HUI Lai-har - Madam Lau Kam Lung Secondary School of MFBM Ms IP Wan-ting - Sha Tin Government Primary School (AM)

Miss KAM Yi-fong - Hotung Secondary School Ms LAU Hang-sin - New Asia Middle School

Ms LIU Yuet-ming - HKTA Ching Chung Secondary School

Miss MAH Wing-yee, Vernier - TWGH Wong Yee Jar Jat Memorial Primary School Ms POON Chiu-fai - Shatin Tsung Tsin School

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Mr YEE Gia-lin - Salesian English School

Mr KUNG, Eton - Center for Enhanced Learning & Teaching, The Hong Kong University of Science and Technology

Prof Daniel LAW - Department of Music, The Chinese University of Hong Kong

Dr LEUNG Bo-wah - Department of Creative Arts, The Hong Kong Institute of Education Miss WONG Ka-po - Inspection Section, Quality Assurance Division, Education and Manpower Bureau

Dr WONG Wai-yee, Marina - Department of Education Studies, Hong Kong Baptist University Miss YIP Lai-chi, Rita - Department of Creative Arts, The Hong Kong Institute of Education Secretary:

Ms LAM Wai-kuen - Arts Education Section, Curriculum Development Institute, Education and Manpower Bureau

Ms WONG Ki-tak, Katherine - Arts Education Section, Curriculum Development Institute, Education and Manpower Bureau

Mr YEH Cheung-shing - Arts Education Section, Curriculum Development Institute, Education and Manpower Bureau

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Preamble

This Curriculum Guide is one of the series prepared by the Hong Kong Curriculum Development Council for use in primary and junior secondary schools.

The Curriculum Development Council is an advisory body giving recommendations to the Hong Kong Special Administrative Region Government on all matters relating to curriculum development for the school system from kindergarten to sixth form. Its membership includes heads of schools, practising teachers, parents, employers, academics from tertiary institutions, professionals from related fields or related bodies, representatives from the Hong Kong Examinations and Assessment Authority and the Vocational Training Council, as well as officers from the Education and Manpower Bureau.

This Curriculum Guide is recommended by the Education and Manpower Bureau for use in primary and junior secondary schools.

The Curriculum Development Council will review the curriculum from time to time in the light of classroom experiences. All comments and suggestions on the Curriculum Guide may 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

E-mail: arts@emb.gov.hk

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1 Introduction

1.1 Rationale of Music Curriculum

It is beyond doubt that the 21st century will bring unprecedented changes in politics, economics and societies all around the world. Science and technology are ever advancing while new knowledge is ever expanding. There are far-reaching influences on the livelihood and future of humankind. Faced with knowledge-based and dynamically changing environment and situation, one needs to be able to process information flexibly and handle problems creatively. “Education enables individuals to develop their potentials, construct knowledge and enhance personal quality”. 1 To meet future challenges, schools are shouldering the important mission to cultivate in students broader perspectives, creative thinking, rich knowledge, flexibility and a strong sense of commitment. On such a firm basis, students can engage in life-long learning and incessantly improve themselves so as to meet future challenges.

We have opportunities of experiencing music every day and such is inseparable from our daily lives. Music education contributes significantly to the development of aesthetic sensitivity, and the intellectual and moral pursuits of human beings. It nurtures students’

creative mind, sense of national identity, flexibility and openness as well as respect for others. The importance of music education was recognised in both ancient China and Greece. For instance, Confucius, a great thinker, politician and educator of ancient China, stated that music is essential to personal learning, and it can only be seen as perfect when one is being educated in music.2 Therefore, music education was one of the priorities in Confucius’ teaching among the “Six Arts”. Furthermore, he pointed out that “music is an effective tool to shape and transform culture and custom”,3 and that music has a positive impact on cultivating moral values in society.

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Music is not only an important and fundamental way among human beings for communication, emotional and cultural expression, but also crucial to children’s intellectual, physical and mental development. It offers unlimited space for humankind to make use of its unique quality to exercise imagination and articulate emotions that definitely cannot be replaced by languages. Music can be regarded as an intelligence,4 which every individual can use to create, learn and solve problems during the process of growth. In other words, every student has the intelligence and potential in music, the ability to learn music, as well as the entitlement to music education. Involvement in music activities allows students to stimulate creativity, to develop various abilities and generic skills, and to cultivate values and attitudes such as perseverance, self-discipline, a sense of responsibility and commitment. Therefore, music education is not mandated for the small number of music talents. Furthermore, it is not adequate to advocate music education as simply cultivating students’ interest for leisure and as a form of entertainment. Undoubtedly, music education has a central place in the school curriculum for it provides indispensable learning experiences for students’ growth and development.

Schools should attach importance to school-based Music curriculum development so as to provide students with quality music education in facilitating their all-round and unique development.

1.2 Music Curriculum - Retrospect and the Way Forward

In 1983 and 1987, the Hong Kong Curriculum Development Council published the Music Syllabuses for Junior Secondary and Primary Schools respectively as guidelines for schools to develop their Music curriculum. In an age of rapid changes, curriculum reform is of

crucial importance. The Hong Kong Curriculum Development Council published the Arts Education Key Learning Area Curriculum Guide (Primary 1 - Secondary 3) in 2002. It sets

4 In Frames of Mind (1983) and Intelligence Reframed (1999), Professor Howard Gardner set forth the theory of Multiple Intelligences, contending that musical intelligence is one of the intelligences which human beings equipped.

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out the directions, strategies, rationale and Learning Targets for the development of arts education in schools, with Music being one of the important and unique subjects in the Arts Education Key Learning Area. The Music Curriculum Guide (Primary 1 - Secondary 3) provides recommendations and materials for schools to plan and develop their school- based Music curriculum, covering aspects such as curriculum framework and planning, strategies for learning and teaching as well as assessment, and the use of learning and teaching resources. Nevertheless, curriculum development is a continuous and developmental process that needs to be built on the existing strengths in schools, and should take the form of evolution rather than revolution. Therefore, this Curriculum Guide is built on existing good practice, and aims at improvement and further development. In reviewing the Music Syllabuses for Primary and Junior Secondary Schools, the following characteristics are identified:

• emphasising the development of students’ abilities in singing, music reading and listening;

• using music activities as a pivotal point that includes singing, music reading, listening, instrumental playing, movement and creative activities in the Syllabus for Primary Schools, with the last three as supplementary activities in the Syllabus for Junior Secondary Schools; and

• having a content-based curriculum with prescribed teaching content for each level or stage, for example, recommendations for songs, rhythmic patterns on music reading, materials on sight singing and scope of listening.

While the two syllabuses have firmly laid the foundation for learning and teaching in Music, there are existing strengths which are conducive to Music curriculum development;

for instance:

• arts education is regarded as one of the effective means for developing students’

creativity and contributing to their whole-person development;5

• research studies abroad show that music education has contributed significantly to students’ academic achievement;6

5 In 2000, the Education Commission published Learning for Life, Learning through Life: Reform Proposals for the Education System in Hong Kong, arts

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• according to the survey from the Cultural and Heritage Commission, parents in Hong Kong are more willing to develop their children’s potential in music, and some $2 billion is spent a year on music training for children;7

• the government spends nearly $2.6 billion in promoting culture and arts development each year,8 thus creating a favourable condition for citizens and students in musical development; and

• the government and various organisations provide ample opportunities and ways for students to develop their potential in music as well as in the arts, for instance, the Schools Creative Music Showcase, the Hong Kong Schools Music Festival9 and the Hong Kong Youth Arts Festival.

Building on the foundation and existing strengths in Music, as well as coping with the latest development in arts education, the Hong Kong Curriculum Development Council has prepared the Music Curriculum Guide (Primary 1 - Secondary 3). In the areas of curriculum, learning and teaching as well as assessment, the Guide has the following characteristics:

(1) Curriculum

• Making recommendations for the coherent development in the Music curriculum from Key Stage 1 through Key Stage 3.

• Achieving the four Learning Targets, i.e. Developing Creativity and Imagination, Developing Music Skills and Processes, Cultivating Critical Responses in Music and Understanding Music in Context, through integrated activities of creating, performing (singing and instrumental playing) and listening.

7 The Culture and Heritage Commission commissioned Lingnan University to conduct a questionnaire survey. More than 1,000 families with children studying in primary and secondary schools were interviewed with over 4,000 questionnaires from teachers and parents were collected.

The Report was disseminated in April 2002. The finding shows that the largest resources and support for music education are being given by parents. Nearly 70% of the families interviewed have children participating in extra-curricular arts activities.

8 The government spends roughly 1% of the total recurrent expenditure in promoting culture and the arts. This approximately amounts to

$2.3 billion of the expenditure spent on recreation and sports. Education, health and social welfare account for 19%, 13% and 11% of the recurrent government expenditure respectively.

9 Students are keen on participating in the Hong Kong Schools Music Festival each year and the number of entries has increased considerably.

In 2001-2002, the number was 132,300. The increases were 10% and 9% respectively as compared to the years 1999-2000 and 2000-2001.

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• Providing an open and flexible framework for learning and teaching by suggesting precise and progressive Learning Objectives for different Key Stages. Appropriate examples of music activities are recommended under each Learning Objective.

(2) Learning and Teaching

• Gaining rich and comprehensive music experiences through students’ participation in integrated activities of creating, performing and listening.

• Cultivating a balanced development in students’ abilities in creating, performing and appraising music.

• Shifting from a paradigm of teacher-centred teaching to student-centred learning, and encouraging students to construct knowledge in music.

• Adopting diversified learning modes in music flexibly such as learning across the arts, learning across the KLAs and life-wide learning.

• Enriching students’ music learning experiences through the four key tasks, i.e. project learning, using information technology (IT) for interactive learning, moral and civic education and reading to learn.

• Developing students’ generic skills, values and attitudes through learning in music.

(3) Assessment

• Putting more emphasis on ‘assessment for learning’ apart from ‘assessment of learning’.

• Adopting diversified modes of assessment flexibly to cater for student diversity.

• Providing feedback, whenever appropriate, to students for enhancing effective communication between teachers and students, as well as facilitating their learning.

• Encouraging self and peer assessment to develop students’ abilities in reflection and critical thinking.

Based on the recommendations in this Curriculum Guide and building on the existing strengths, schools should, with reference to their strengths and mission, start adapting and implementing the new Music curriculum by level or by stage as soon as possible

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community, as well as the aspirations that we uphold, we shall strive to develop quality music education for students, to cultivate their life-long interest in music, to establish a firm foundation for music learning, and to raise the standard of music and cultural qualities of Hong Kong.

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2 Curriculum Framework

2.1 Overall Aims of Music Curriculum

Music education helps students:

• To develop creativity, the ability to appreciate music and to effectively communicate through music;

• To nurture aesthetic sensitivity and cultural understandings;

• To develop music skills, construct knowledge in music, and cultivate positive values and attitudes;

• To gain enjoyment and satisfaction through participating in music activities; and

• To pursue a life-long interest in and the valuing of music.

2.2 Curriculum Framework

Overall Aims of Arts Curriculum

Overall Aims of Music Curriculum

Learning Targets

Generic Skills

Values and Attitudes Learning Objectives

Students develop skills, knowledge and positive attitudes through Integrated Music Activities by means of Effective Learning & Teaching and Assessment

*KS1

*KS2

*KS3

Developing Creativity and

Imagination

Developing Music Skills and

Processes

Cultivating Critical Responses

in Music

Understanding Music in

Context

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2.3 Learning Targets and Learning Objectives

2.3.1 Learning Targets

Music is an important medium for expression and communication among human beings.

In the process of music learning, students use creativity, performing and listening skills to express the qualities of music and the emotions embedded in it. Students gain rich and comprehensive music learning experiences through the integrated activities of creating, performing and listening, and achieve the four Learning Targets of the Music curriculum.

The four Learning Targets are inextricably intertwined and form the core of the Music curriculum. They are all important and should be developed concurrently and systematically.

However, they do not necessarily bear the same weight in curriculum design and the process of learning and teaching. Teachers should be flexible in adjusting the emphasis according to students’ learning needs as well as their abilities. The four Learning Targets of the Music curriculum are:

Developing Creativity and Imagination

Develop music ideas and acquire creating skills, together with performing and listening, to cultivate creativity and imagination;

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; and

Understanding Music in Context

Understand the functions of music and the relationship between music and cultures.

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Achieving the Four Learning Targets through Integrated Music Activities

2.3.2 Learning Objectives Leading to the Four Learning Targets

The Learning Objectives leading to the four Learning Targets from Key Stages 1 to 3 in this Curriculum Guide provide a flexible framework for students’ progress in music learning.

The Learning Objectives are progressively arranged under the four Learning Targets, so as to coincide with the average student’s abilities in musical development and assist teachers in designing integrated activities and modes of assessment. In designing schemes of work, teachers should, with reference to students’ abilities and learning and teaching needs, apply the recommended Learning Objectives in this Curriculum Guide flexibly, or design suitable Learning Objectives of their own. For notes on designing Learning Objectives and some examples of learning activities which comply with the Learning Objectives, teachers may refer to Section 3.3.2 “Examples of Learning Activities Leading to the Learning Objectives”

on pages 22 to 30.

Creating

Developing Music Skills and

Processes

Understanding Music in Context Developing

Creativity and Imagination

Cultivating Critical Responses

in Music

Performing

Listening

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2.4 Generic Skills

Generic skills are the foundation skills in student learning, and are transferable and applicable in different learning and living contexts. The nine generic skills include creativity, critical thinking skills, communication skills, collaboration skills, IT skills, problem-solving skills, self-management skills, study skills and numeracy skills.

Music learning and the development of generic skills are closely related. Whilst students can progressively develop generic skills through participating in different music activities, generic skills also facilitate music learning. Generally speaking, students’ generic skills can be developed through music activities, for instance:

• cultivating creativity, critical thinking and numeracy skills through exploring and selecting suitable materials for sound projects;

• cultivating communication, collaboration, problem-solving and self-management skills through arranging and engaging in ensemble activities;

Students will learn to

LEARNING TARGETS

Developing Creativity and Imagination

1. create / improvise music using basic music skills, simple music ideas and different sounds.

2. create / improvise movements to reflect different qualities of music.

1. create / improvise music with structure and organisation.

1. create / improvise music for specific purposes to

demonstrate the grasp of creating skills.

2. make use of IT to create music.

Developing Music Skills and Processes

1. sing and play

instruments to develop basic performing skills through memorising or reading music.

1. sing in unison and two parts with technical accuracy.

2. play pitched and non-pitched instruments with technical accuracy.

3. read and notate music using staff and other notations.

4. record music through the application of IT.

1. sing in unison and in parts with technical accuracy.

2. play instruments in unison and in parts with increasing control of techniques.

Cultivating Critical Responses in Music

1. express personal feelings to music.

2. identify the characteristics of sound / music and describe its features using simple music terms.

1. describe and analyse music of simple structures.

2. apply predetermined criteria to appraise compositions and performances using appropriate music terms.

1. describe and analyse music in chosen styles and genres.

2. develop a list of criteria to appraise

compositions and performances.

Understanding Music in Context

1. describe the functions of music in daily life.

1. describe the ways the voice / instrument is used in different contexts.

1. describe music of different styles / cultures in relation to its contexts.

Learning Objectives

Key Stage 2Key Stage 1Key Stage 3

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• developing critical thinking, study and communication skills through collecting and analysing related information on a piece of music and using the information as reference to appraise music; and

• cultivating creativity and IT skills through using music software to explore and create music.

2.5 Values and Attitudes

Values are the criteria for personal conduct and judgement while attitudes are the ways and orientation to behave and handle events. Both are interrelated. Through learning and teaching in music, teachers help students build proper values and attitudes, for instance:

• cultivating aesthetic sensitivity and well-nurtured sentiments through understanding the meanings and experiencing the moods of the music;

• cultivating national identity through performing and appraising Chinese music;

• understanding and respecting local traditional culture through singing and appreciating Cantonese Opera;

• understanding and respecting traditions as well as values of other cultures through appraising music from different cultures;

• respecting different views and orientations through listening to others’ creative works and understanding the characteristics of their interpretations;

• observing intellectual property rights through encouraging the use of licensed music software and compact discs;

• cultivating the quality of perseverance by practising consistently to enhance performing abilities;

• cultivating a sense of responsibility and commitment through participating in rehearsals whole-heartedly and punctually;

• nurturing cooperation and team spirit through creating sound projects in groups and ensemble performances;

• respecting others’ performances by observing concert etiquette; and

• cultivating a life-long interest in music through engaging in creating, performing and

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3 Curriculum Planning

3.1 Central Curriculum and School-based Curriculum Development

This Curriculum Guide provides recommendations of a central curriculum and sets out a clear direction for schools to develop their Music curriculum. Through an open and flexible curriculum framework, which consists of the Learning Targets, Learning Objectives, examples of learning activities, schemes of work, suggestions for action in learning and teaching and assessment, the Guide facilitates the development of school-based Music curriculum and improves the quality of education. With due consideration given to the strengths and needs of students, schools should adapt a school-based Music curriculum that provides students with quality music education and pleasant learning experiences.

When planning a school-based Music curriculum, teachers should also consider aspects other than the recommendations suggested by the central curriculum such as:

(i) Does the curriculum have a clear direction and well-defined aims for development?

Does it spell out items as priorities for development?

(ii) Do the school management, teachers and parents accept and support the curriculum?

(iii) Does the curriculum cater for the interest and abilities of students?

(iv) Can teachers’ professional knowledge and teaching experiences cope with the curriculum?

(v) Are communication and coordination among teachers adequate?

(vi) How can resources within the school and community be made full use of?

Curriculum development is a continuous process. To cope with the changes in society, teachers should make appropriate adjustments in Music curriculum planning, as well as in the strategies for learning and teaching and assessment whenever possible. In addition to this Guide, teachers are encouraged to refer to the Basic Education Curriculum Guide: Building on Strengths (2002) and Arts Education KLA Curriculum Guide (2002) for the development of

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3.2 Time Allocation

Schools have to provide sufficient arts lessons for students throughout the three Key Stages of their basic education. The Arts Education KLA Curriculum Guide (2002) suggests allocating about 10-15% and 8-10% of the total formal lesson time for arts education at primary and secondary levels respectively. For instance, a school with a timetable of 40 lessons per week should allocate four to six and three to four arts lessons per week for primary and junior secondary levels respectively. As Music is an important subject in the Arts Education KLA, schools should allocate two Music lessons at primary level and one to two Music lessons at junior secondary level per week.

In general, schools arrange two separate Music lessons each week to allow students to be involved in music more frequently. However, to facilitate the current trend of learning and teaching, schools may arrange music lessons in more flexible and innovative ways. The following arrangements are suggested:

• Distribute the lesson time within the recommended total time allocation for the Arts Education KLA over the three years of a Key Stage, and arrange the number of Music lessons for different levels in a flexible way. For example, a school may decide to allocate three lessons per week for Secondary One, two lessons per week for Secondary Two, and only one lesson per week for Secondary Three;

• Extend lesson time to 45-55 minutes, or arrange double or triple lessons in order to ensure sufficient time for students to create, perform or participate in project learning;

• Arrange lessons of different duration such as setting the duration of short and long lessons to 45 minutes and 65 minutes respectively for facilitating various teaching modes to improve student learning;

• Use a whole day or week to provide diversified music learning experiences such as co-curricular activities and cross-KLA learning; and

• Schedule a special session of arts activities for the whole school or the whole form such as Friday afternoon concert, performance of students’ creative works and singing competition.

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To encourage students to make good use of their spare time for music making and learning, schools should make the Music room, IT room, library and school hall available during lunch hour, before and after lessons. Moreover, schools may arrange diversified music activities for students on Saturdays and holidays to widen students’ music experiences. For suggestions on time allocation, please refer to Booklet 2 ‘Whole-school Curriculum Planning’

of Basic Education Curriculum Guide: Building on Strengths (2002).

3.3 Music Concepts and Examples of Learning Activities

3.3.1 Music Concepts

Transmitting abstract music concepts merely through verbal explanations may not be an effective approach as students would find it difficult to understand these concepts. Teachers could guide students progressively to identify, understand and apply different music concepts through permeating these concepts in the integrated activities of creating, performing and listening. To strengthen students’ understanding of music concepts, teachers should apply strategies capitalising on the spiral and incremental nature of learning, which allow students to revisit certain music concepts from time to time through different learning contents. In this way, students can grasp more complicated concepts gradually. When planning, teachers should first consider students’ abilities and previous knowledge before deciding on the music concepts to be introduced and consolidated at a particular Key Stage.

Through music activities, students could experience music and make connection between the music and the music concepts embedded. In the following table, some music concepts in terms of music elements are listed for teachers’ reference in designing and organising integrated activities.

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3.3.2 Examples of Learning Activities Leading to the Learning Objectives

This Guide provides concise and progressive Learning Objectives with examples of learning activities across the three Key Stages of basic education. They are given as teachers’

references for designing integrated music activities. A few suggestions are provided for consideration when teachers prepare a scheme of work with reference to the recommended Learning Objectives and examples of learning activities:

(i) The Learning Objectives leading to the Learning Targets should be carefully considered to suit students’ abilities and interest in music. The Objectives listed in Key Stage 1 are intended for students of Primary 1 to 3, while those in Key Stage 2 and Key Stage 3 are intended for Primary 4 to 6 and Secondary 1 to 3 respectively. However, teachers may select appropriate Learning Objectives from other Key Stages which suit the abilities and learning progress of students.

Pitch Duration /

Rhythm Dynamics

Tempo

Timbre

Texture Harmony

Tonality Structure /

Form

high / middle / low; staying the same / stepwise / leaps; intervals; scales long / short; basic pulse; rhythm; simple time / compound time; syncopation loud / soft; accent; gradation of dynamics; subtle differences and changes in dynamics

fast / slow; gradation of tempi; subtle differences and changes in tempi qualities of sound (e.g. sounds of metal, wood, strings, skin and electronic instruments; different ways of playing); timbres of different categories of voices and instruments; timbre of individual voices (e.g. soprano and tenor;

zihou ( ) and pinghou ( ) ) and instruments; different combinations of voices and instruments

thick / thin; monophony; homophony; polyphony; heterophony

Sound effects with more than one note; tension / resolution; chords; harmonic progression

major; minor; modes; atonality

phrase; repetition; question and answer; ostinati; repeating and contrasting sections (e.g. binary form, ternary form and rondo form); structure and design based on development of ideas (e.g. theme and variations, sonata form)

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(ii) In the process of designing a scheme of work, teachers should first select and / or set their own Learning Objectives, then design integrated music activities such as creating, performing and listening, that work towards the four Learning Targets. When setting Learning Objectives, teachers may adopt the following ways:

a. Using the Learning Objectives provided in this Guide (Learning Objectives 1-5 of Scheme of Work (1), page 92);

b. Selecting appropriate parts from the individual Learning Objectives (Learning Objectives 1-4 of Scheme of Work (5), page 96);

c. Integrating different Learning Objectives from different Learning Targets and Key Stages (Learning Objective 5 of Scheme of Work (5), page 96); and

d. Using the Learning Objectives of this Guide as reference and designing appropriate Learning Objectives to suit one’s teaching needs (Learning Objectives 1-3 of Scheme of Work (2), page 93).

(iii) The examples of learning activities listed in each Learning Objective may contribute to one or more Learning Targets, though the coverage or depth may vary. For example, creating a short piece for a video clip can lead to all the four Learning Targets of this Guide while the depth of achieving individual Learning Targets may vary in this activity with reference to the needs of learning and teaching.

(iv) The Learning Objectives and examples of learning activities in this Guide only serve to provide a suggested framework for teachers’ reference. Teachers are encouraged to design more innovative activities to guide students to learn and understand music in a progressive manner, and hence cultivate their interest in music.

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Developing Creativity and Imagination

Learning Objectives

KEY STAGE 2KEY STAGE 1

Examples of Learning Activities 1. create / improvise

music using basic music skills, simple music ideas and different sounds.

2. create / improvise movements to reflect different qualities of music.

1. create / improvise music with structure and organisation.

Notes: Teachers may select appropriate Learning Objectives from other Key Stages which suit students’ abilities and learning progress.

The examples of learning activities only serve as teachers’ reference, and should not be regarded as a checklist of the activities required.

• Echoing to given rhythmic and / or melodic phrases.

• Using rhythmic and / or melodic patterns from familiar songs to create questions and answers.

• Creating singing conversation.

• Improvising lyrics for familiar songs.

• Improvising simple rhythmic or melodic ostinati for familiar songs using pitched / non-pitched percussion instruments with given rhythmic patterns / notes.

• Exploring different sounds that can be produced by classroom instruments or objects.

• Exploring how different timbres can be produced on an instrument.

• Creating sounds using voice, instrument(s) or electronic means to show the high / low, loud / soft, long / short, fast / slow, thick / thin and melodic direction of a piece of music.

• Creating sound effects for songs, stories and poems as well as inventing and using symbols or graphics to record music ideas.

• Moving, e.g. walking, stepping and skipping, to different metres or rhythms.

• Expressing the pulse, strong and weak beats of music with body movements, e.g. tapping, clapping and stepping.

• Improvising movements to reflect the high / low, loud / soft, long / short, fast / slow and melodic direction of a piece of music.

• Creating movements to show the tempi, dynamics and atmospheres of a piece of music.

• Improvising movements to music or poems.

• Creating or improvising melodies, based on given notes or a pentatonic scale, for voice or pitched percussion instruments.

• Creating accompaniments for songs using pentatonic scale.

• Creating rhythmic or melodic patterns to accompany songs, e.g.

2-part to 4-part rhythmic ostinati, luogudian (  ) and short melodic ostinati used to accompany rounds.

• Creating melodies for given words using simple compositional devices, e.g. repetition, imitation or sequence.

• Creating short pieces in binary form, ternary form or rondo form using traditional and non-traditional instruments, including electronic means.

• Creating simple introduction, interlude and coda for songs.

• Creating a sound project employing different changes of music elements, e.g. tempo, texture, dynamics and tone colours obtained from a wide range of means including the use of IT.

Students will learn toStudents will learn to

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Notes: Teachers may select appropriate Learning Objectives from other Key Stages which suit students’ abilities and learning progress.

The examples of learning activities only serve as teachers’ reference, and should not be regarded as a checklist of the activities required.

Students will learn to

Developing Creativity and Imagination

Learning Objectives

KEY STAGE 3

Examples of Learning Activities 1. create / improvise

music for specific purposes to demonstrate the grasp of creating skills.

2. make use of IT to create music.

• Extemporising with given melodic motives or the opening of a phrase.

• Harmonising a given song with primary chords and their inversions.

• Improvising melodies with simple structure based on primary chords.

• Creating jingles for TV or radio commercials.

• Creating a short piece for a video clip or visual image with appropriate use of music elements and compositional devices.

• Creating a passage of baklam (  ) to introduce oneself or to describe a journey to school.

• Creating a short piece employing contemporary compositional devices.

• Arranging accompaniments for familiar songs through the application of sequencing software.

• Creating melodies with accompaniments using simple harmonic progression through the application of notation or sequencing software.

• Changing the mood or style of an existing piece by rearranging its harmony, accompaniment or adding a part through the

application of notation or sequencing software.

• Creating sound effects or sound projects using wave editing software.

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Developing Music Skills and Processes

Learning Objectives

KEY STAGE 2KEY STAGE 1

Examples of Learning Activities 1. sing and play

instruments to develop basic performing skills through memorising or reading music.

1. sing in unison and two parts with technical accuracy.

2. play pitched and non-pitched instruments with technical accuracy.

3. read and notate music using staff and other notations.

4. record music through the application of IT.

Notes: Teachers may select appropriate Learning Objectives from other Key Stages which suit students’ abilities and learning progress.

The examples of learning activities only serve as teachers’ reference, and should not be regarded as a checklist of the activities required.

• Responding accurately to conductor’s cues on dynamics, tempo and expressions, e.g. loud, soft; fast, slow, pause; legato, staccato.

• Singing a variety of simple unison songs, e.g. nursery rhymes, action songs, dialogue songs, folk songs, singing games and dramatised songs, with basic singing skills.

• Singing songs in a variety of metres, e.g. , , and .

• Singing simple two-part rounds.

• Playing percussion instruments, e.g. triangle, tambourine and claves, with basic skills.

• Playing rhythmic patterns on percussion instruments with rhythmic accuracy, e.g. rhythmic patterns built on , , , , , , in simple time; and , , , in compound time.

• Singing different phrases built on d m s and pentatonic scale from rhythmic sol-fa notation.

• Using bass instruments to play a drone bass or an ostinato.

• Accompanying familiar songs with given simple rhythmic or melodic ostinati.

• Singing a simple song according to given expression markings.

• Singing simple two-part songs, e.g. rounds, quodlibets, songs with descants, with accuracy in rhythm and pitch.

• Observing performance markings while singing, e.g. Andante, Moderato, Allegro; pp, p, mp, mf, f, ff; cantabile, dolce, espressivo.

• Singing two-part intervals with the use of hand-signs, e.g.:

m r d l se l

s s d d m l

• Playing on a melodic instrument, e.g. recorder, melodica or xylophone, with accuracy in rhythm and pitch.

• Playing in a small percussion ensemble with accuracy in rhythm and pitch.

• Using tonic and dominant chords to accompany simple songs or rounds.

• Playing rhythmic patterns on percussion instruments with

accuracy such as patterns built on , , , , in simple time, and , in compound time.

• Observing performance markings while playing.

• Sight singing or playing short pieces in simple duple, triple and quadruple time.

• Playing at sight a piece of Chinese music from jianpu (  ).

• Notating a simple short melody with appropriate music signs and terms to indicate the expressions.

• Inventing their own notation to record a familiar piece of music.

• Using graphic notation or IT to record music ideas and sound projects.

• Notating the melody of a simple song using notation software.

• Recording music ideas with the use of IT.

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Notes: Teachers may select appropriate Learning Objectives from other Key Stages which suit students’ abilities and learning progress.

The examples of learning activities only serve as teachers’ reference, and should not be regarded as a checklist of the activities required.

Students will learn to

Developing Music Skills and Processes

Learning Objectives

KEY STAGE 3

Examples of Learning Activities 1. sing in unison and in

parts with technical accuracy.

2. play instruments in unison and in parts with increasing control of techniques.

• Singing songs to develop singing skills such as clear diction, good intonation and proper phrasing.

• Singing two-part and three-part songs with accuracy in pitch and rhythm.

• Singing in parts with attention to the balance of parts and accuracy in pitch.

• Singing an excerpt from a Cantonese opera in gongchipu (  ).

• Playing a two-part recorder piece with accuracy in rhythm and pitch.

• Playing an instrumental piece with changes in music elements such as tempo, dynamics and tone colour.

• Rehearsing in an ensemble and observing the performance markings such as Adagio, Allegretto, Lento, Presto, con, molto, più, simile, rubato, allargando, fp, sf, sfz.

• Playing in an ensemble using different combination of instruments with accuracy and fluency.

• Using a melodic instrument to play a counter-melody to a song sung by the class with due attention to the balance of parts.

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Cultivating Critical Responses in Music

Learning Objectives

KEY STAGE 2KEY STAGE 1

Examples of Learning Activities 1. express personal

feelings to music.

2. identify the characteristics of sound / music and describe its features using simple music terms.

1. describe and analyse music of simple structures.

2 apply

predetermined criteria to appraise compositions and performances using appropriate music terms.

Notes: Teachers may select appropriate Learning Objectives from other Key Stages which suit students’ abilities and learning progress.

The examples of learning activities only serve as teachers’ reference, and should not be regarded as a checklist of the activities required.

• Describing personal feelings to a wide range of music.

• Talking about personal feelings with reference to its music elements after listening to a piece of music.

• Drawing a picture to depict personal perceptions of a piece of music.

• Identifying the strong and weak beats of duple, triple and quadruple time.

• Identifying patterns and phrases of familiar songs.

• Identifying the quality of sound produced by classroom instruments and objects, e.g. metal, wood, plastic and glass.

• Describing the characteristics of sound produced by different animals, e.g. cat, dog, bird and pig.

• Listening to a variety of music and identifying the changes of music elements in the pieces, e.g. high / low, loud / soft, long / short and fast / slow.

• Listening to and describing peer singing performances, e.g. tone colour, diction and phrasing.

• Listening to and identifying music of different textures, e.g.

monophony and homophony.

• Listening to some short pieces of music and identifying their simple structures, e.g. introduction, interlude, coda; binary form, ternary form and simple rondo form.

• Identifying the major and minor tonalities through singing and listening.

• Identifying the changes of tonic and dominant chords in a piece of music.

• Describing the relationship between words and music, e.g. word painting, syllables in English and tones of Cantonese dialect.

• Appraising peer performances using appropriate music terms.

• Using appropriate music terms to appraise a wide range of music, e.g. art songs, folk songs and cartoon music.

• Using predetermined criteria to evaluate TV jingles.

• Appraising music performances and commenting on the mood of pieces of music with reference to the use of music elements.

• Writing a concert report to express one’s comments on the performance.

Students will learn toStudents will learn to

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Notes: Teachers may select appropriate Learning Objectives from other Key Stages which suit students’ abilities and learning progress.

The examples of learning activities only serve as teachers’ reference, and should not be regarded as a checklist of the activities required.

Students will learn to

Cultivating Critical Responses in Music

Learning Objectives

KEY STAGE 3

Examples of Learning Activities 1. describe and analyse

music in chosen styles and genres.

2. develop a list of criteria to appraise compositions and performances.

• Listening to and describing specific styles and genres of music to demonstrate one’s understanding of music elements.

• Using appropriate music terms in describing and discussing

performances and compositions to demonstrate one’s understanding of music, e.g. articulations, structure and form.

• Commenting on the music characteristics of a certain type of songs, e.g. art songs, folk songs, pop songs and hymns.

• Identifying the motive or theme of a piece of music and describing how it develops.

• Discussing the techniques and approaches on the use of music elements in contemporary music.

• Watching an excerpt of a Cantonese opera and commenting on the music in relation to the text and acting.

• Developing a list of criteria to appraise a choral performance and making suggestions for improvement, e.g. balance of parts, pitch accuracy, postures and phrasing.

• Using a list of self-developed criteria, e.g. compositional devices, styles and genres to assess the quality and effectiveness of one’s own and others’ creative works.

• Writing a concert report and commenting on the performance with reference to a set of self-developed criteria, e.g. the ways of

interpretation and the level of performance.

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Understanding Music in Context

Learning Objectives

KEY STAGE 2KEY STAGE 1

Examples of Learning Activities 1. describe the

functions of music in daily life.

1. describe the ways the voice / instrument is used in different contexts.

1. describe music of different styles / cultures in relation to its contexts.

Notes: Teachers may select appropriate Learning Objectives from other Key Stages which suit students’ abilities and learning progress.

The examples of learning activities only serve as teachers’ reference, and should not be regarded as a checklist of the activities required.

• Talking about the purposes of music being played in public areas, e.g. restaurants, lobbies, shops and lifts.

• Talking about the meaning of singing the school song or the National Anthem of the People’s Republic of China in school functions.

• Talking about the functions of different types of music, e.g. TV jingles, lullabies, marches and wedding music.

• Choosing music to accompany the entrance of athletes and describing its characteristics.

• Identifying the timbre of Chinese and Western instrumental categories, e.g. strings, woodwind, brass and percussion; chui (), tan (), la () and da ().

• Comparing the voice production of art songs, Cantonese operatic songs and popular songs.

• Talking about the voice production of different types of Chinese folk songs in relation to their social and geographical contexts.

• Talking about the sound effects in a certain TV commercial, e.g.

ways to use human voice or instruments.

• Identifying and describing the music characteristics in relation to the cultural and historical contexts.

• Discussing the effects of the 19th-century nationalism on Western music.

• Discussing how impressionism in visual arts affected the music of Debussy.

• Discussing the role of music and the use of sound effects in films.

• Discussing how social values influence the style and content of popular songs in different historical contexts.

• Researching and discussing the cultural and historical contexts of a particular type of music, e.g. blues, Cantonese pop songs, and songs written for the War of Resistance Against Japan.

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KEY STAGE 3 Students will learn to

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3.4 Scheme of Work

To design an effective scheme of work, teachers should first establish the overall objective and design the Learning Objectives that work towards the four Learning Targets. Through the use of integrated activities involving creating, performing and listening, and appropriate means of assessment, students’ music knowledge, skills and attitudes can be developed.

Two formats of writing a scheme of work are suggested:

(i) Using integrated activities involving creating, performing and listening as the focus;

and

(ii) Using learning and teaching procedures as the focus.

Each of these formats has its merits. The former clearly shows the items of individual activities and allows teachers to arrange activities among lessons in a flexible way. It may be more suitable for experienced teachers. The latter presents learning and teaching procedures in a planned order, and would be easier for less experienced teachers. However, teachers should adopt the teaching procedures in a flexible way according to the teaching situation in order to suit students’ abilities and learning progress. Teachers may choose an appropriate format when designing their teaching with reference to their experiences and practices.

This Curriculum Guide provides teachers, from Key Stage 1 to Key Stage 3, with two examples of the scheme of work for each Key Stage for reference (Schemes of Work (1) to (6), pages 92 to 97). The six schemes of work are based on ideas contributed by experienced teachers who had tried out these schemes in their own teaching. In addition, Schemes of Work (7) and (8) on pages 98 and 99 are examples on fostering students’ creativity through the learning of two national anthems. Presenting the same teaching content in the two different formats of the scheme of work serves to illustrate the different characteristics of these two formats and the different ways of writing Learning Objectives.

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3.5 Learning Across the Arts

Music is closely related to other art forms. Many activities combine music and different art forms such as music and dance, music and drama, music and film, music and gymnastics, as well as music and rituals. These activities provide students with opportunities to learn across the arts. Activities

integrating music with other art forms enable students to associate the learning experiences of different art forms, to understand the interrelationship among them, and to deepen their understanding of music and other art forms. For example, the concepts of contrast and harmony are common to all art forms; by learning across the arts, students understand the ways these concepts are evident across different art forms; as a result, students’ conceptual understanding of the arts would be widened, their creativity stimulated, and responses towards music elevated.

Teachers may adopt a theme or an artistic element when designing activities of learning across the arts. Celebrating the Lunar New Year is an example. Students are first encouraged to collect information and talk about the customs of the Lunar New Year in their native villages. After this motivation stage, teachers may guide students to appreciate and design paper cuttings and Lunar New Year prints, listen to and sing Lunar New Year songs and learn the dances. Finally, appropriate topics can be selected for students to participate in a Lunar New Year performance across the arts, such as a dragon dance and a lion dance, which are interesting and familiar performances across the arts. As regards using artistic elements as the basis, Music teachers should work collaboratively with teachers of other art forms to discuss and then design activities on learning across the arts with due consideration to the abilities and interest of their students, as well as the progress and teaching content of the different subjects. For example, teachers of Music and Visual Arts could work together on elements that are shared across the two subjects such as timbre / colour, melody / line and music form / graphic composition, to develop learning activities across the arts. For exemplars on related curriculum design, teachers may refer to Teaching Exemplar 1: “Dots and Lines” on page 100.

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