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Socio-Political Forces and Intended, Resourced and Implemented Curricula: Chinese Music in Hong Kong and Taipei Junior Secondary Schools

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Socio-Political Forces and Intended, Resourced and Implemented Curricula: Chinese Music in Hong Kong and Taipei Junior Secondary Schools Socio-political Forces and Intended, Resourced and Implemented Curricula: Chinese Music in Hong Kong and Taipei Junior Secondary Schools LAU Kai-chi Anthony A thesis submitted in fulfillment of the requirements for the degree of Doctor of Philosophy Faculty of Education The University of Hong Kong August 2006 This thesis is dedicated to the memory of our beloved Roman Catholic Church Papa, His Holiness Pope John Paul II (1920 – 2005) and Rev. Fr. Bruno Gelosa, SDB (1914 – 2005) My spiritual director in St. Louis School and Rev. Fr. Giuliano Carpella, SDB (1923 – 2006) My principal in St. Louis School and Rev. Fr. William Joyce, SDB (1918 – 2005) The lyricist of my first music composition in 1979 and Rev. Fr. Benjamin Leong, OFM (1930 – 2001) My spiritual director in the Holy Land All of these distinguished persons were important spiritual directors for me in the initiatives that led to this thesis, but to my great sadness and regret they are not here to see the fruition of my effort. It is their love and spirit that supported me through the journey. ii DECLARATION I declare that the entire thesis represents my original thoughts, including conceptual models, methodological and theoretical frameworks and genuine empirical research data, except where due acknowledgment is made. It has not been submitted for any other university (or tertiary institution) degree in Hong Kong or overseas. _______________________________________ LAU Kai-chi Anthony iii Abstract of thesis entitled Socio-political Forces and Intended, Resourced and Implemented Curricula: Chinese Music in Hong Kong and Taipei Junior Secondary Schools Submitted by LAU Kai-chi, Anthony for the degree of Doctor of Philosophy at the University of Hong Kong, August 2006 Hong Kong and Taipei have similarities in their ethnic compositions, geographic locations, economic structures, and relationships with Mainland China. However, they also have significant differences in each of these spheres, and in other socio-political dimensions. Socio-political factors have had an impact on curriculum as well as on other domains of education. This thesis compares the intended, resourced and implemented curricula in Hong Kong and Taipei. Comparisons across place and across dimensions of curriculum help to identify the forces which are unique to particular locations and dimensions and the forces which are more generalisable. The thesis focuses on music in junior secondary schools, and is constructed around one main research question and two supporting questions. The main research question is “What is the nature and extent of Chinese music in the curricula of junior secondary schools in Hong Kong and Taipei, and what socio-political forces have determined these patterns?” This has two supporting research questions: (1) What is the nature and extent of Chinese music in the curriculum at the intended, resourced and implemented levels in both places? and (2) What are the roles and status of Chinese and non-Chinese elements in the curricula in the two places? The answers to these questions are then interpreted within the context of analysis of socio-political forces. This analysis is undertaken with the help of a set of conceptual models drawn from the literature on comparative education. The research methods included content analysis of two official syllabuses and four sets of music textbooks, as well as interviews with syllabus designers, textbook publishers, and music teachers in Hong Kong and Taipei. The analysis centres on the curricular choices made regarding Chinese and non-Chinese music. This is a significant area of political, cultural and educational decision-making which is bound up with questions of national identity, allegiance and citizenship. The study argues that the overall process of curriculum development (from the intended official written curriculum to the resourced curriculum set out in textbooks, and then to the taught implemented curriculum) in the two cities has been influenced by similar socio-political forces. It also argues that the process is characterized by some similar and some varying complex patterns in the nature and extent of Chinese and non-Chinese music which is not adequately recognized in the existing literatures. The study contends that the national identity, preference of national and local cultures, national education, colonial education, and acceptances of, and relationships with, other cultures have played important roles in shaping the nature and extent of Chinese and non-Chinese elements in the music curriculum. iv ACKNOWLEDGEMENTS Studying in the Faculty of Education at the University of Hong Kong has been a rewarding experience. However, the undertaking of the research and writing of a doctoral thesis is by no means a simple endeavor, and, especially for me, such a task would have been well-nigh impossible were it not for the continuous guidance, support, advice and encouragement of a number of people whom I must mention. Chief among them is my principal supervisor, Professor Mark Bray, Dean of the Faculty of Education, who gave me the chance of recognition in the field of comparative education and influenced my intellectual life first through the Master of Education degree and then this doctorate. The dedication that he has demonstrated to his profession has been a constant source of inspiration to me throughout my study at the University. I give my deepest thanks not only for his professional guidance, but also for his constructive criticism, provocative questions, and perceptive and detailed comments on various drafts of the thesis. My deepest appreciation goes to another supervisor, Dr. Bob Adamson, for his valuable advice and guidance since the very early stage of my research. He constantly guided me not only in Hong Kong but also from his subsequent locations in the USA, Australia and Great Britain. I am deeply appreciative of his unfailing help and inspiring supervision, his extreme patience and his open-mindedness to the different ways of thinking. From his scholarship and inspiration, I have learned and opened my eyes to not only my subject area, music, but knowledge in and attitude towards a much wider area of curriculum. I also express my great appreciation and gratitude to my thesis committee members, Dr. Law Wing Wah and Dr. Ng Ho Ming. Dr. Law not only shared his valuable ideas and written works, but also introduced me to Dr. Ho Wai Chung, a scholar with expertise in the music education of Hong Kong and Taiwan. I am extremely grateful to Dr. Ng Yuen Fun, teacher in the Northcote College of Education, and Prof. Paul Morris of the Hong Kong Institute of Education, for their timely advice and invaluable criticism in the preliminary drafting of the thesis proposal; and Dr. Allen Leung who supervised my final revised thesis. Moreover, this study could not have been accomplished without the assistance and cooperation of many Hong Kong and Taipei scholars, music professors, school principals, and teachers who provided lots of useful data. Also, I owe an unforgettable debt to Ms. Lu Hui Yan for her generous support and encouragement. She and her friends were instrumental in making my study and research in Taipei enjoyable. This thesis would not have been completed without the data provided by the interviewees. They include Dr. Ng Yuen Fun, Dr. Leung Chi Cheung, Dr. Cham-Lai Sui Ching, Mr. Tai Kit Man, Mr. Yeh Cheung Shing, Ms Amy Luk, Miss Amanda Chan, Ms. Amy Lau, Ms. Chang Pao Yue from Hong Kong, and Prof. Chien Shan Hua, Prof. Lai Mei Ling, Prof. Yao Shi Ze, Dr. Hu Shui Wen, Ms Zhuang Mei Zhi, Ms. Lu Hui Yan, Mr. Ye Ji Ming from Taipei. I feel forever indebted for the enormous support of Mr. Ivor Johnson, a professional in English and curriculum, who read through the final draft, provided valuable opinions, and advised on syntax and editing of the whole thesis in a limited time. Furthermore, I thank my colleague, Mr. Stewart Carry and student, Seto Fong Ching, who had helped me to polish the English in the earlier academic papers. v The thesis results from the efforts and sacrifice of many individuals in the school in which I work, Queen’s College. Much appreciation is due to the principals, Mr. Lee Kar Hung, Mrs Cheung-Lam Lai King and Mr. Li Lok Yin; and the assistance from colleagues, Mr. Leung Wai Shun, Mrs. Chan-O Shui Fong, Mr. Yue Kwok Choy, Mr. Yu Chung Ching, Mr. Kong Siu Wah, Mr. Chan Yuk Lung and Miss Lee Wah Ying; and the help from students in Queen’s College who cooperated and assisted in the collection of data, analysis of the findings, and in other ways. They are Chan Tze Fung, Fung Kei Yuen, Chan Ka Yin, Liu Ching Chiu, Chan Ho Wing, To Hing Lun, Wong Ho Tak, Lau Wai Leong, Lau Wing Hong, Lee Yuk Ming, Kwok Wing Cheung, Ho Siu Lam and Kwong Ping Woo. Before and during the doctoral study on comparative education in music, many people enriched and heightened my knowledge, and I owe a great debt of gratitude to them. They include Catholic clerics, music teachers and friends, who directly and/or indirectly have taught and influenced me from my earlier stage to the present. The following important persons in my life must be mentioned in particular: (i) Catholic clerics: Bishop Joseph Zen (陳日君主教), Rev. Fr. Anthony Tcheong (張志誠神父), Rev. Fr. Joseph Wong (黃克鑣神父), Rev. Fr. Mak Kun Kim, Rev. Fr. Ng San Hou, Rev. Fr. Simon Lam (林仲偉神父), Rev. Fr. Chow Pak Fai, Rev. Fr. Michael Mckenna (麥謹行神父), Rev. Fr. Luigi Rubini (魯炳義神父), Rev. Fr. Anthony Bogadek (鮑嘉天神父), Rev. Fr. Emilio Savogin (宋斯藏神父), Rev. Fr. Lam Kin Hon, Rev. Fr. Wong Kin Kwok, Rev. Fr. Lanfranco Fedrigotti (斐 林豐神父), Rev. Fr. Placid Wong (黄國華神父), Rev. Fr. Choi Se Ah, Rev. Fr.
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