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The purpose of this paper is to discuss nationalistic education in Hong Kong from a cultural perspective. It highlights the challenges faced by the Hong Kong Government and the growing antagonism and mistrust between the young generation and the government. The paper reviews the cultural policies adopted by the Western Zhou, Han and Tang dynasties in ancient China.

This paper adopts a historical approach by reviewing the policies in music and culture in the Chinese history and argues for the adoption of a soft approach to nationalistic education in Hong Kong.

Results show that being inclusive toward diverse cultures, trusting and valuing people’s voices and accepting differences of opinion are effective policies that were adopted by the respective dynasties. The results shed light on the possibility of nurturing nationalism through education in music and culture.

The historical examples mentioned in this paper are only selected periods of the Chinese history. Thus, the survey could not be taken as a comprehensive review.

This paper reviews the policies concerning music and culture in ancient China and argues for transferring the soft approach of predecessors toward these subjects as part of the nationalistic education of Hong Kong.

The results shown should be considered seriously by the Hong Kong Government as an effective substitute policy for the past stringent approach of implementing national education in Hong Kong. Nationalistic education focusing on music and culture is a common root for all Chinese and should be used in future to build up trust and common values between China and Hong Kong.

The originality of this research lies in its dealing with nationalism and national education, recommending a soft approach to education viewed through the prisms of music and culture.

Entrepreneurship education is recommended for implementation throughout the entire educational path. However, there have been challenges in implementing entrepreneurship education for many kinds of students, especially in non-business education. The purpose of this paper is to ask how 15-year-old students in Finnish basic education are able to find their “entrepreneurial selves” by looking at their musical activities through an “entrepreneurial lens”.

This case study examines an intervention carried out among music students in basic education. The music teacher interpreted the enterprise approach as guiding the students to experiment with different styles in singing and playing instruments, to seek various opportunities to sing and play both individually and as a group, and to reflect upon their activities. To awaken their entrepreneurial selves, the students were guided to assess their musical activity using 12 enterprise concepts.

The study shows that students in basic education can be encouraged to reflect on their music studies by comparing their musical activities with small-sized entrepreneurs’ attributes and activities. For example, the students pointed out the ability to take initiative and cooperate. One principle in organising the music learning environment was to allow the students to make choices based on their own interests. The alternatives given led students to discover opportunities and to make decisions to experiment. Their reflective practices enabled them to make new decisions and finally own and lead their music learning paths.

This investigation shows that encouraging students to reflect on their study practices through an entrepreneurial lens may awaken them to their entrepreneurial selves regardless of the subject and context. Despite examining only music studies in basic education, the findings may prompt teachers and educators in other non-business educational contexts and subjects to apply the ideas shared in the current paper.

Music as a subject and basic education as an educational level have not been examined in depth as enterprise learning environments. Only a few previous studies have focused mainly on non-business students’ enterprise activities without training in business skills.

The purpose of this paper is to examine music teachers' perceptions of teaching cultural and national values (also defined as national cultural values) to explore the tensions facing school music education in the choice of music types to be delivered in Hong Kong and Taiwan.

With specific regard to music teachers' perceptions of “values,” “music cultures” and “nationalism,” data were drawn from a survey questionnaire given to 343 music teachers (155 preservice and 188 in-service music teachers) and semistructured interviews with 36 of these respondents.

The findings of the study showed that though many respondents in Hong Kong and Taiwan felt comfortable teaching traditional Chinese music, they did not want to teach contemporary Mainland Chinese music and other political or patriotic forms in the school music curriculum. The data also demonstrated some shortcomings in introducing a balance of music types into the curriculum, as well as limitations in promoting national education in response to the respective sociopolitical situations in Hong Kong and Taiwan.

This study was subject to limitations regarding the potential generalizability of the findings on school music teachers' perceptions in Hong Kong and Taiwan.

The implications for teachers and student teachers regarding the development of cultural and national values related to the political processes in Hong Kong and Taiwan are complicated, because of not only their relationship with Mainland China and its education based on nationalism but also the extent of teachers' professional training to help create an enabling environment for national and cultural development.

The findings of this study revealed that there are fundamental gaps in the overt and operational curricula in Hong Kong and Taiwan concerning the sociopolitical function of values in school music education in response to their respective sociopolitical situations.

This study focuses on the implementation of entrepreneurship education in non-business education at the basic education level and in class-teacher education in Finland. The subject to learn was music, which did not include any entrepreneurial content. Accordingly, this study looks closely at the way learners behave when studying music. The purpose of this paper is to see whether entrepreneurial behaviour is appropriate in non-business education.

The study used the action research approach; in particular, it used the special teacher-as-researcher method. The analysis was based on content analysis.

In this study, the teacher-researcher looked at entrepreneurial learning as experimenting with alternative learning methods and different learning contents. To ensure that every learner received the support they needed in their self-chosen tasks, peer learning was encouraged. Learners got the support they needed both from each other and from the teacher-researcher.

Although this study was only carried once during some music lessons in one particular comprehensive school and once in one class-teacher education in Finland, the findings may prompt teachers in other subjects and other countries to add entrepreneurial activities to their learning environments.

There is a lack of research into entrepreneurship education practices at lower educational levels and where education is not business-oriented. Using the entrepreneurial approach in general education raises another question: is the approach suitable for every learner? Neither of these facets has been studied in depth.

Music education and music therapy offer many positive benefits for students with disabilities. This chapter highlights some of the most recent research in both fields and in neuroscience that offers strategies for special educators to use to increase inclusion in music classes and ensembles.

This chapter explores the way teaching music lends itself to the inclusive pedagogical approach in action framework, focusing on four key areas: working outside of ability groups, using what learners can do as their starting point, engaging in learning at their own level whilst contributing to a collaborative outcome and developing the whole creative child rather than just a skillset.

This paper discusses the academic, governmental and logistical issues surrounding the University of Glamorgan’s recent involvement in developing accredited training and education for one of the largest music technology manufacturers in the world – Roland UK. The paper reports the joint development of a Foundation Degree in Music Retail Management, reflecting upon the viability of implementing work based learning (WBL), including accrediting current training and prior learning (APL). Through analysing the early stages of the project, the paper aims to formulate a clearer perspective of what the University of Glamorgan and Roland UK, in addition to the government and the music retail industry, actually require from a foundation degree such as this. After presenting a synopsis of the current political climate and contextualising the existing status of musical instrument retail training, an overview is provided of the development of the Roland/Glamorgan partnership. This is followed by a discussion of the philosophical debates and mechanisms currently surrounding the implementation and accreditation of WBL. The paper cumulates with the development of a pedagogical model that takes into account the quality issues of both the University of Glamorgan and Roland UK in addition to government policy. Conclusions are then drawn regarding the importance of both institutions developing appropriate structural capital and being aware of cultural differences that can potentially restrict academic/industrial partnerships. Although this pilot was focused specifically upon Roland UK, its wider implications, in terms of the demand for accredited training for the music instrument retail industry, are considered.

The purpose of this paper is to elaborate the picture of situational relevance by examining how modes of music information are viewed as situationally relevant at different stages of information-seeking processes among music students.

Empirical data of the present longitudinal study were collected in two phases by utilizing questionnaire and interview methods. Informants comprised of 14 university-level music students representing the fields of music performance, music education and music theory and composition. Modes of music information were approached through the information typology presented by Rousi, Savolainen and Vakkari.

The findings indicate that not only the modes of music information were seen as situationally relevant for different reasons by the three participating music student groups when at the beginning of their tasks, but also that the perceived situational relevance of the information modes underwent changes as their tasks progressed to focus formulation and post-focus stages.

Due to the small number of participants, further research is needed to verify the results concerning the differences in information-seeking processes between diverse music student groups.

The paper showcases that approaching music information through frameworks that classify information sources at diverse levels of abstraction enables an accurate description of information-seeking processes and illuminates context-sensitive development of situational relevance of music information of diverse modes.

Purpose – This chapter focuses on how teacher candidates engage in a process of body mapping to narratively inquire into how their daily informal and formal music experiences inform elementary music teaching practices.

Methodology and findings – In a primary/junior music education course at Brock University, teacher candidates utilize a course assignment to create a visual narrative (body map), along with oral and written narratives that outline their music experiences. Through this narrative inquiry, teacher candidates become aware of how their personal lived experiences influence their perceptions about elementary music teaching. This chapter offers conceptualizations of five threads that emerged from the narratives: process of body mapping and musical experience, music everywhere, school influences, family, and fear.

Value – This inquiry deepens understandings of curriculum making possibilities in elementary music teacher education as teacher candidates begin to form their music teacher identity based on their lived experiences. Such visual, oral, and written narratives contribute to increased narrative understandings by demonstrating the power teacher candidates' personal music experiences have in shaping teacher identity and, in turn, teaching practice.

The purpose of this paper is to address the lack of a theoretical framework for the integration of technology in music teaching and learning, and explores, within the framework of Technological Pedagogical Content Knowledge (TPCK or TPACK), the importance of affect in instructional design.

The authors reviewed relevant literature related to the fields of music education, instructional design, and technology integration. Accordingly, they developed guidelines for designing technology-enhanced learning for the activities of music composition and listening.

The authors propose a set of design principles based on the TPCK framework through the subject matter of music focusing on the affective domain, and identify interrelations among musical content, emotions, and technology. The design guidelines were tested in an empirical investigation and the results showed statistically significant differences between the control and the experimental groups in favor of the experimental group.

Further investigation is necessary to test the effectiveness of the proposed design principles. Including affect in the design process is a complicated and mostly unchartered area, and, thus, further research toward this direction is fully justified.

The research has practical significance, addressing a gap in the field of music education, as it provides teachers with explicit guidance about how to design music lessons with technology while incorporating affect.

The study extends the theoretical framework of TPCK to a design framework and proposes instructional design guidelines that address both the cognitive and the affective domains of learning, a focus that is currently missing from the existing TPCK or TPACK literature as well as the music education literature.