published_or_final_version / Economics and Finance / Doctoral / Doctor of Philosophy

鄭漢龍. / 據手稿本影印. / Thesis (M.A.)--香港中文大學敎育學部. / Ju shou gao ben ying yin. / Includes bibliographical references (leaves 118-121). / Zheng Hanlong. / Thesis (M.A.)--Xianggang Zhong wen da xue jiao yu xue bu. / 表格目次 --- p.(vii) / 摘要 --- p.(x) / Chapter 第一章 --- 引言 --- p.1 / Chapter （甲） --- 問題陳述 --- p.3 / Chapter （乙） --- 有關文獻之探討 --- p.6 / Chapter （丙） --- 研究動機 --- p.31 / Chapter 第二章 --- 研究方法與步驟 --- p.44 / Chapter （甲） --- 抽樣 --- p.44 / Chapter （乙） --- 研究工具 --- p.46 / Chapter （丙） --- 資料蒐集及分析　 --- p.49 / Chapter 第三章 --- 研究結果與討論 --- p.55 / Chapter （甲） --- 結果 --- p.55 / Chapter （乙） --- 討論 --- p.77 / Chapter 第四章 --- 結論 --- p.104 / 註釋 --- p.111 / 參考書目 --- p.118 / Chapter 附錄一 --- 問卷 --- p.122 / Chapter 二 --- 初中評核試試場主任與編監考員人選關係表 --- p.136 / Chapter 三 --- 香港中學會考試場主任與編初中評核試監考員人選關係表 --- p.136 / Chapter 四 --- 香港中學會考試場主任與編監考員人選關係表 --- p.137 / Chapter 五 --- 香港中學會考試場主任與編香港高等程度考試監考員人選關係表 --- p.137 / Chapter 六 --- 香港中學會考試場主任與編香港高教程度考試監考員人選關係表 --- p.138 / Chapter 七 --- 香港高等程度考試試場主任與編監考人選關係表 --- p.138

published_or_final_version / Education / Doctoral / Doctor of Philosophy

published_or_final_version / Education / Master / Master of Education

This phenomenological qualitative study is informed by integrated theories including a social constructionist perspective on human sexuality, sexual identity development models, heterosexism with theoretical support of minority stress model and feminist theory. The aim was to uncover the lived experiences of 20 male sexual minority students navigating heterosexism in secondary schools, within the socio-cultural context of Hong Kong Chinese society. Due to the invisibility of sexual minority adolescents in Hong Kong, purposeful sampling was used to recruit informants who were having same-sex sexual attractions and/or sexual behaviors/sexual identity. Over the period 2008-2011, twenty male informants, aged 14 to 19 and currently enrolled in secondary schools, were recruited for in-depth interviews. In terms of community labels, these informants might be known as gay, bisexual, memBa, tongzhi, tongxinglian, and those who are still questioning their sexual identity. Parental consents were waived for informants under eighteen years old and alternative measures were carried out to safeguard confidentiality and their best interests. Qualitative data analyses via a software package NVivo yielded several overarching themes: 1) “exploring my sexuality in school”; 2) “feeling powerless over overt homophobia”; 3) “feeling alienated over heteronormative assumptions”; 4) “feeling oppressed over silencing”; 5) “angry over curriculum omission”; 6) “distressed with risk stories”; and 7) “empowered with stories of resilience”. The results suggest that with variations in their sexual identity developmental process, they defined and interpreted their sexualities with reference to the specific social cultural context of Hong Kong, especially linked to the Christian value, Chinese Confucianism and Western human rights concepts. In the process of exploring a stigmatized sexual identity within schools, the informants generally felt powerless, alienated, and oppressed when encountering psychological and cultural heterosexism, manifested through overt and subtle forms by individuals and the systems within the school context. In the process of navigating homophobia and heterosexism, informants shared both risk and resilience stories. The current findings will be helpful for those in the teaching and counseling professions. These professionals can also help raise public awareness of this group of students in order to eliminate the social stigma, prejudice, and discrimination that still plague sexual minorities. Recommendations are made for further research, education policy, professional training for teachers and counselors, and support services for sexual minority students. / published_or_final_version / Education / Doctoral / Doctor of Education

Present research provides strong support for the use of creative activities in school music programmes based on evidence that learning music is more effective when students are exposed to authentic, experiential learning activities, rather than verbal descriptions and explanations by the teacher. Based on this background the purpose of this study was to address the need to train music teachers with the confidence and skills necessary to incorporate creative music making in their classroom teaching. The study was divided into two phases. Phase I included a questionnaire survey that investigated the current situation of music teaching in Hong Kong secondary schools. To extend this survey three composers and three curriculum planners were invited to participate in semi-structured interviews in order to survey their opinions and suggestions on creative music making. Based on the literature review and findings from Phase I, Phase II focused on the design of a teacher education programme that would prepare teachers to undertake creative activities in their classroom music teaching. The programme was trialled twice with two groups of in-service music teachers studying at the Hong Kong Institute of Education. The trainees were asked to design their own creative projects that were taught during a four-week Teaching Practice session. Findings reveal that the most effective creative projects possessed a logical teaching sequence, addressed students???? musical preferences, and integrated listening and performing activities with the creative task. Findings suggest that Hong Kong music teachers should adopt the techniques proposed in this study when designing and implementing their teaching programmes in order to nurture the musical creativity of their students. Music teacher education programmes in Hong Kong should also consider revising their modules so that they provide more balance between theory and practice, and integrate subject-based knowledge with pedagogical skills. A major conclusion of the study is that music teaching in Hong Kong secondary schools would benefited from a balance between creating, performing and listening activities where teachers apply a student-centred approach to expose their students to active, experiential and reflective learning environments in which creative musical expression is fostered at all levels of student development.

published_or_final_version / Education / Master / Master of Education

Present research provides strong support for the use of creative activities in school music programmes based on evidence that learning music is more effective when students are exposed to authentic, experiential learning activities, rather than verbal descriptions and explanations by the teacher. Based on this background the purpose of this study was to address the need to train music teachers with the confidence and skills necessary to incorporate creative music making in their classroom teaching. The study was divided into two phases. Phase I included a questionnaire survey that investigated the current situation of music teaching in Hong Kong secondary schools. To extend this survey three composers and three curriculum planners were invited to participate in semi-structured interviews in order to survey their opinions and suggestions on creative music making. Based on the literature review and findings from Phase I, Phase II focused on the design of a teacher education programme that would prepare teachers to undertake creative activities in their classroom music teaching. The programme was trialled twice with two groups of in-service music teachers studying at the Hong Kong Institute of Education. The trainees were asked to design their own creative projects that were taught during a four-week Teaching Practice session. Findings reveal that the most effective creative projects possessed a logical teaching sequence, addressed students???? musical preferences, and integrated listening and performing activities with the creative task. Findings suggest that Hong Kong music teachers should adopt the techniques proposed in this study when designing and implementing their teaching programmes in order to nurture the musical creativity of their students. Music teacher education programmes in Hong Kong should also consider revising their modules so that they provide more balance between theory and practice, and integrate subject-based knowledge with pedagogical skills. A major conclusion of the study is that music teaching in Hong Kong secondary schools would benefited from a balance between creating, performing and listening activities where teachers apply a student-centred approach to expose their students to active, experiential and reflective learning environments in which creative musical expression is fostered at all levels of student development.

published_or_final_version / Education / Master / Master of Education

published_or_final_version / Education / Master / Master of Education