Hong Kong secondary music education : a sociological enquiry
The thesis intends to explore struggles over the content of musical knowledge and musical meaning within the music education system, in relation to overall social political change. The research focuses on music education in Hong Kong, with reference to the transfer of Hong Kong's political sovereignty from the United Kingdom of Great Britain to the People's Republic of China in 1997. Part One (Socio-political and cultural heritage) traces the interrelationship between China, Britain and Hong Kong in the content of Hong Kong music education during the period of British administration. This includes the following: Chapter One introduces the research problem, theoretical orientation and main argument of the thesis. Chapter Two examines patterns of the historical context of Imperial China, modern China and colonial Hong Kong music education. Chapter Three is an analysis of the rise of Hong Kong indigenous popular and serious (classical) music outside the school environment. Part Two (Impact of the 1984 and 1989 political events) describes the significance of these two events on Hong Kong music education. This includes the following: Chapter Four is a comparison between formal Hong Kong music education, the changing socio-political configuration and other social institutions under the influence of the 1989 Tiananmen Square 3 Incident. Chaptet: .five is a comparison between music education and other parts of the education system in Hong Kong as a consequence of the 1989 Tiananmen Square Incident. Part Three (Tensions of Hong Kong music education) highlights the dilemmas of Hong Kong music education. This includes the following: Chapter Six focuses on the struggles of Hong Kong music education within the socio-political, cultural and economic arenas. Chapter Seven is an investigation of music teachers' opinions about Hong Kong secondary music education. Part Four (Music as a social construction) is the conclusion of the thesis in Chapter Eight which reviews the patterns of Hong Kong music education by treating music as a socio-political construction, and attempts to apply the broader implications of the thesis.