This study examines the change of Hong Kong's sovereignty from one particular perspective – its effect on musical education. Our purpose is to analyse how the change of sovereignty and the idea of ‘one country, two systems’ are reflected in current practices, including published materials used in Hong Kong's secondary schools. Sources of data include selected textbooks, government documents concerning educational policies and curriculum, school syllabi and relevant studies.

All reflective music educators ponder the questions posed by this title. Over the years, they have channelled an enormous amount of energy into the improvement of musical teaching and learning in our schools. Ross (1995) argues that these efforts continue to be futile, for the basis of thought and practice is misconceived. This paper examines Ross's thesis highlighting and developing its existential component. A case study illustrates the argument for placing authentic self-expression and ‘music proper’ within the context of wider contemporary debate.

Two case studies of different ages, levels of progress, capabilities and backgrounds are investigated in the light of methods employed by F. M. Alexander for inculcating relaxation in actors and musicians (the so-called ‘Alexander Technique’). The various tensions in the two learners, both physical and mental, were identified, the reasons therefor sought, then solutions provided and effected. The process is described in some detail and the development, most specifically regarding the improvement in tone quality, traced through its various stages. Specific Alexander techniques are described, with their in situ applications documented. The positive effects of correct posture are thereby demonstrated.

This article maintains that the emphasis placed on technical work during instrumental lessons inhibits the growth of students' musicianship. In addition the focus given to technique is shown to be responsible for the development of unnecessary physical tensions. It is argued that in terms of brain usage, technical skills and note-reading are based largely in the left-hemisphere, while the less used skills of improvisation, memorisation and internalisation are based in the right-hemisphere. It is proposed that in order to allow pianists to become more creative, imaginative and musical, young beginners should be given the opportunity to develop all the functions of their brains. Through using a whole-brain approach in piano teaching, pupils would develop a greater understanding of music and obtain a greater sense of physical ease whilst playing. The approach would increase enjoyment and motivation, reduce anxiety and physical tensions while performing and improve the ability to sight-read.

The study and practice of improvisation in music departments of Australian colleges and universities tends to be dominated by jazz and other African-American styles. However, the School of Music of the Victorian College of the Arts in Melbourne has developed a course of study with a different focus. While rooted in the fundamentals of jazz performance, the philosophy of the course is that students at the end of the twentieth century should endeavour to develop their own musical ‘voice’. An important means of assisting this development is the encouragement for students to compose their own music as the basis for improvisation. In many cases personal concerns and events form the basis for these original pieces and allow performers to develop their own compositional concepts. This is also a significant means of allowing the music to reflect the era and culture of the performers. This article outlines an investigation of ten students conducted over the three years of their degree studies. The investigation aimed to ascertain the conditions under which a personal voice might be acquired and the extent to which composition was employed in the participants' major performances.

This case study of two organ students aims to identify learning strategies used in preparing a complex piece for performance. The results are based on data gathered from verbal reports given both during and after practice sessions. These sessions were also videotaped. The results show that the students used learning strategies to select and organise information and to integrate it with existing knowledge. In addition, they were systematic in their approaches to sorting the learning material.