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A standalone literature review was conducted to ascertain the extent and status of research on the practical inclusion of Chinese music in Western educational contexts. The study identified a body of journal articles and postgraduate theses on the topic. The papers were analysed to discern what might constitute best practice classroom approaches to teaching and learning Chinese music. Based on the review's criteria for inclusion – papers were in English, praxis-oriented, peer-reviewed and published over the past three decades – the study found that the number of publications was limited (19) and that in terms of established pedagogical approaches they engaged, some gaps existed, certain pedagogies were minimally represented and some were perhaps too recent to have been trialled. Even so, the study concluded that while best practice is an elusive notion, Chinese music forms and styles appear to be compatible with a range of educational settings and Western-oriented music teaching and learning approaches. [ABSTRACT FROM AUTHOR]

This descriptive study reports analyses of titles (N = 636) and authors (N = 1,012) of published research papers presented at the 1st through 27th International Society for Music Education (ISME) Research Commission (RC) seminars from 1968 through 2018. We considered global impact based on manuscript citations, times countries or specific global regions appear in titles, country affiliation of authors, and sole or collaborative authorship. We further examined 7,348 individual words contained in the published paper titles. Data showed a chronological shift from sole to collaboratively authored manuscripts and an increase in the number of words used in titles (ranging from 2 to 31). Citations (N = 9,713), different countries (N = 158), and global regions (N = 40) in titles, and country affiliation of authors (N = 47) represent a strong global impact. Substantive keywords used in two or more titles align well with the founding principles and purposes of the commission. Perhaps the most salient finding is the manner in which collective data in this study supports and reinforces the extraordinary aspirations and intent of the ISME RC from 1968 to 2018 showing the past, present, and continued necessity of this unique organization of the ISME. [ABSTRACT FROM AUTHOR]

This paper presents a Systematic Literature Review (SLR) about pedagogical innovation and disruption in music education. A rigorous SLR process was applied to the selection of papers related to innovative practices in music education at different educational levels and in a range of contexts. Although there are similar studies on innovation in education, there is no SLR on pedagogical innovation and disruption in music education using this method. The purpose of this study is to present an example of how to do an SLR and to share the findings of the review itself. We also provide a snapshot based on a tight SLR process of some instances of innovation in music education that, in some way, are drawing the paths to be followed in future investigations. According to the categories of innovation that we have established to analyze our corpus of papers, disruption is produced by modifying four fundamental factors in the act of learning (purpose and context learning, teacher/student relationship, and learner role). These factors can contribute to developing a more flexible and open curricula incorporating a holistic, collaborative, and interdisciplinary vision of learning. We consider that the value of this study lies in reflecting a systematic methodological process for the analysis of the scientific literature as well as the findings. [ABSTRACT FROM AUTHOR]

In this paper we report the results of a questionnaire administered to university faculty members in charge of the initial training of music teachers in Spain at both primary and secondary levels. For this purpose, an ad hoc questionnaire was used to collect information on issues such as access to the degree, programme design and evaluation, students, faculty members, as well as teaching conditions and availability of resources. By means of a descriptive statistical analysis, the results obtained show, in general, the programmes to be rated 'acceptable'. An inferential study was also carried out on the basis of various demographics, and very few differences were found, which indicates a homogeneous perception of programmes. The article concludes with a reflection on what the results indicate about the poor role that research plays in programmes development, as well as the subtle but evident differences found among male and female faculty members, and other topics. [ABSTRACT FROM AUTHOR]

For several decades, scholars in the field of community music have largely concentrated on community music practices in the Global North. Such interest has not been as prevalent in certain parts of the world, like the Caribbean. Consequently, this qualitative multiple case study focuses on three Puerto Rican community music initiatives that foster the country's indigenous music: Bomba, Plena, and Música Campesina. Scholars have documented the evolution and characteristics of these musical traditions. In contrast, this article centers around the practices of Taller Tambuyé, a female-led Bomba organization, Decimanía, a national Música Campesina initiative that funds other community music projects, and La Junta, a community-based project tied to the sector of El Machuchal in the capital of Puerto Rico. This paper presents and analyzes their practices through the lens of Australia's Sound Links project and its nine domains of community music. The multiple case study methodology's cross-case analysis revealed notable divergences among the projects in terms of learning practices, promotion of the indigenous music tradition, and the connection between the musical initiative and their community. Additionally, researchers found the framework established by Sound Links to be a comprehensive tool to analyze community music practices outside of Australia. [ABSTRACT FROM AUTHOR]

This paper examines capacity building and professional development in Western Australia's contemporary popular music sector. It reports on a mixed-methods qualitative-quantitative study into the lived experiences and needs of musicians and industry practitioners alike. It examines learning which is undertaken outside of formal education settings, and includes conferencing, one-on-one mentorship and other workshop based modes of delivery. As is reported, participants are overall positive about their experiences when engaging in such activities however several barriers exist as they relate to the required investments of time and money, modes of delivery and the focus of specific opportunities. A range of recommendations are made in order to address these barriers and support a diversification within the capacity building and professional development space. [ABSTRACT FROM AUTHOR]

Teachers' confidence in navigating the complexities of 'being a teacher' influence their behaviour, how they are perceived, how they make sense of their environment and circumstances and their successes. A web-based survey was developed and distributed to music teachers via an online community of practice. This paper reports on the respondents' self-reported confidence through the use of an Importance-Confidence Analysis. The responses of early career music teachers and experienced teachers are also compared to understand confidence over the career. Results show that both early career and later career teachers placed greater importance on pedagogical knowledge and skills relative to professional knowledge and skills and music knowledge and skills. Later career teachers reported greater confidence with respect to pedagogical knowledge and professional knowledge compared with teachers who were early in their career, whereas music knowledge and skills were viewed quite similarly by teachers across the career. The analysis highlights the need for ongoing support for experienced teachers alongside early career teachers. Recommendations are made for ongoing support of teachers throughout their careers. [ABSTRACT FROM AUTHOR]

How can music educators explore the intersections of spirituality, relationships, and music education? The purpose of this paper is to examine how the Pixar film, Soul, models the transformation that can occur when a music teacher embraces spirituality and the preciousness of everyday life both in and out of the classroom through experiences in spatiality, corporeality, temporality, and relationality. To explore the film's implications, I use a conceptual model of spirituality from van der Merwe and Habron and a theoretical framework from Boyce-Tillman which explores ideas of eudaimonia, spirituality, and music education. The film's protagonist, Joe Gardner, who evolves past his own ego and comes to share the joy of everyday experiences with a fearful student, may serve as a model for music educators who are seeking to find meaning in the daily life of music teaching and learning. Because discussing films seems so natural to our social experience, pondering how characters evolve and come to understand their purpose may help music teachers develop a deeper understanding of their own identity and interconnected relationships with students. [ABSTRACT FROM AUTHOR]

A standalone literature review was conducted to ascertain the extent and status of research on the practical inclusion of Chinese music in Western educational contexts. The study identified a body of journal articles and postgraduate theses on the topic. The papers were analysed to discern what might constitute best practice classroom approaches to teaching and learning Chinese music. Based on the review's criteria for inclusion -- papers were in English, praxis-oriented, peer-reviewed and published over the past three decades -- the study found that the number of publications was limited (19) and that in terms of established pedagogical approaches they engaged, some gaps existed, certain pedagogies were minimally represented and some were perhaps too recent to have been trialled. Even so, the study concluded that while best practice is an elusive notion, Chinese music forms and styles appear to be compatible with a range of educational settings and Western-oriented music teaching and learning approaches.

This study aimed to systematically review the literature focusing on music integration approaches adopted in preschool to secondary education in Turkey. The relevant studies were identified through a systematic search on five databases (The National Thesis Center, TÜBİTAK ULAKBİM TR Index, ERIC, Scopus, and Web of Science). The paper analyzed the publications that were written in Turkish and English between 2010 and 2022 and that are available on the databases of empirical theses and peer-reviewed scientific journals, addressing music integration approaches adopted in preschool to secondary schools by using qualitative, quantitative, and mixed methods. By operationalizing these criteria, 35 studies were included in the review. The studies included were found to tend to use quantitative methods. Music has mainly been integrated into math, science, and language arts curricula. This study revealed that most of the analyzed studies used a subservient integration style, an arts integration style, and offered limited insight into the depth and scope of subject areas covered and the sequencing of skills. Furthermore, this study proposed to consider educational, cognitive, artistic, and affective outcomes together by maintaining the integrity of each of the disciplines in music integration studies in the general schooling context. [ABSTRACT FROM AUTHOR]

This paper discusses the development of music lessons for adults in a non-professional choir. Based on the Kodály Concept, the lessons took place from April 2019 until March 2020. The singers and conductor engaged in shared research practices, tracking teaching and learning experiences through journaling and sharing our writings. Through this sharing, we have discussed the activities that are most enjoyable, difficulties we have encountered, and ways to overcome these difficulties. The data has important implications for my own practice as a music teacher and conductor, in addition to resonating with topics such as critical geragogy and life-long learning in non-academic contexts. Furthermore, shared research practices give adult learners an opportunity to actively engage in teaching and learning processes, with implications for future projects that include adult music education in nonacademic contexts. [ABSTRACT FROM AUTHOR]

There has been a steady increase in popular music programs at Higher Music Education Institutions (HMEIs) across Europe. However, what students actually are supposed to learn at popular music bachelor/master programs has remained largely understudied. Based on 12 in-depth interviews with leaders in higher popular music education, this paper addresses: (1) how popular music is defined and possibly canonized, (2) what the position of popular music programs is, and (3) how the content of popular music programs is constructed—at HMEIs. First, participants struggle to provide a clear definition of popular music. Therefore, they differ in how they name their program – as popular music, pop music or something else. Because there is little consensus over a canon of popular music, our interviewees work from a mini-canon of British/American popular music, add local music to the curriculum, use jazz as a basis and/or work without a canon. Second, despite their growing popularity, popular music programs still struggle to position themselves, particularly at HMEIs with strong classical music departments. Third, program leaders navigate between different approaches of content construction within the constraints of their institution: (a) craft-centered (top-down, teacher-driven, skill-oriented), (b) arts-centered (bottom-up, student-driven, creativity-oriented), and (c) market-centered (side-to-side, industry-driven, commercially-oriented). [ABSTRACT FROM AUTHOR]

This paper investigates the impact of Dalcroze Eurhythmics on fostering creativity and autonomy in classical instrumental pedagogy. The research took the form of an arts practice investigation which included devising, rehearsing, performing and documenting two performance events, drawing on Dalcroze Eurhythmics techniques rather than conventional classical music approaches. Autoethnography and other arts-based methods were utilised to develop and gather data. The paper presents an overview of Dalcroze Eurhythmics from the perspective of a performer, namely this researcher, and discusses how the method informed my arts practice investigation. It concludes with a discussion on key findings around creativity and autonomy, and the proposal that this approach has the potential to greatly enhance students experience of performance music education, as well as improve performance quality and satisfaction in their ensuing professional careers. [ABSTRACT FROM AUTHOR]

Collaborative composition is an established method within music education, but it is a relatively rare phenomenon between composers of large-scale musical works. This research explores collaborative composition in a professional context and highlights the potential and value of its inclusion in specialist composition training at a tertiary level. The paper explores approaches, processes and outcomes arising from collaborative composition through reflection on a large-ensemble collaborative work, Interpolations, composed by participant-researchers' Johannes Luebbers and Paul Williamson. The participant-researchers' background as jazz improvisers emerged as a point of significance and was observed to fundamentally impact the collaborative process. Listening and signifying are identified by Monson as integral to the interactive exchanges between jazz improvisers, which extended into the collaborative composition process. This was given the term 'Jazz Improvisers Collaborative Cycle' (JICC), reflecting the tacit skills jazz improvisers bring to a collaborative relationship. The composers were struck by the refreshing and inspiring nature of working collaboratively, the unexpected and complementary ideas and materials, and the value of a constant sounding board that enabled them to formulate, develop and refine ideas. This project suggests collaborative composition as an alternative model that would be valuable for further exploration within education and professional communities. [ABSTRACT FROM AUTHOR]

Decentering whiteness and decolonizing educational research is not a simple matter for researchers who may (initially) be unaware of their social locations. This paper begins by describing the three authors' individual work within indigenous populations and subsequently explores the impact of their critical journey together as a community of scholars working to decolonize their research practice. Following an overview of their individual stories, the authors share principles of ethical scholarly engagement within indigenous communities, particularly positionality, ownership, and answerability, that they hope will be valuable to others who may embark upon similar critically reflective journeys. Alongside each of these principles, they pose "unanswered questions" so as not to uphold their journey as a model, but rather to illuminate how this work is messy, challenging, eye-opening, unsettling, and ongoing. The authors conclude that it is the "methodological responsibility" of white scholars to do the ethical work to understand, untangle, and dismantle potentially harmful dispositions, orientations, and practices before engaging with indigenous communities, and suggest that such transformation may be most powerfully pursued in a purposeful and collaborative space. [ABSTRACT FROM AUTHOR]

Music, especially singing with others, is a highly emotive experience and has been a core of an early childhood education philosophy that has promoted a social image of the child, where children are portrayed as competent communicators, individuals with rights and members of a community. How children think and learn has been an on-going emphasis of educational research. By unpacking a specific project that centred around the development of a song and musical sharing we explore ideas of project-based learning in the 21st-century. We discuss aspects of child-centred activity and argue that the role of the adults is often prominent, especially in the early stages of designing a project. The context of this study was an early learning centre with arts-based paedagogical practices that included a combination of ideas from the past, children's own experiences and more recent research. This contribution offers a nuanced look at a project involving a musician/composer, teachers with specialised knowledge and children accustomed to investigating challenging issues like climate change. Music offers a powerful language for adults and children to tackle 'big' ideas. It encompasses intellectual, social, cultural and emotional processes which are inherently political and the product of all participants. [ABSTRACT FROM AUTHOR]

This practitioner research, conducted by a secondary school music teacher, deals with two complementary questions: the conceptual question how one could define the 'artistry' of a music teacher in the context of his teaching practice, and the empirical question in how far the music teacher's actions can determine the quality of the musical interactions with his students. The paper elaborately describes the institutional context for this (doctoral) practitioner research study, and integrates two premises, one regarding the negative image of the school subject music, and another about the vagueness and the ongoing discussions about the required competences of a 'good' music teacher. The first question is dealt with in a theoretical way, resulting in a working definition for a music teacher's 'artistry': 'a music teacher's "artistry" lies within the extent to which he can apply his musical competences in "immediate" teaching situations'. The second question is studied empirically using a set of qualitative data sources, derived from the practitioner researcher's teaching practice, that were analysed by means of a self-developed 'three-dimensional matrix of the music teacher's real-time teaching actions'. This results in a set of 10 categories in which the music teacher clearly demonstrates 'unprepared non-routinised musical actions'. [ABSTRACT FROM AUTHOR]

This paper provides an analysis of how secondary school music teachers (N = 10) in Uganda apply instructional strategies (peer teaching, practical music-making, modeling, and feedback) in their music lessons. Analysis was undertaken to establish if there were any similarities or differences amongst the urban, suburban, and rural music teachers and between experienced and inexperienced teachers in ways they employed instructional strategies. Data were gathered through videotaped classroom observations and analyzed via SCRIBE (Simple Computer Recording Interface for Behavioral Evaluation). Results showed that practical music-making was the most observed strategy while negative feedback (disapprovals) was the least observed strategy. Experienced teachers provided more feedback in form of approval and engaged their students more in practical music-making activities. Results from the study are discussed in terms of implications for improved teacher preparation. The strategies discussed in this study should be encouraged through teacher professional development, and through greater emphasis in teacher preparation courses. [ABSTRACT FROM AUTHOR]

Spanish Conservatories of Music are educational institutions where, for the most part, the culture of Modernity is upheld and an aesthetic musical paradigm is enshrined. In this paper, therefore, it was important to reflect, firstly, on the teaching practices they implement and which have remained faithful to Positivist assertions, in the face of the different educational laws that have been passed. To this end, we carried out an analysis of the opinions of 20 students on a university Master's course which is centred on contemporary artistic practices and where theories sourced from Critical Pedagogy occupy an important space. With the data drawn from these students - all of them Conservatory graduates and a significant number now teachers - we used interpretative phenomenological analysis techniques and the results show this group's openness towards methodologies and practices hitherto unknown to them. They highlight, moreover, the importance of offering opportunities to awaken a critical approach in students, whereby they can choose what type of teacher they wish to be, and which methodologies they wish to adopt, rather than merely reproducing in an uncritical fashion the teaching style in which they themselves were taught. [ABSTRACT FROM AUTHOR]

As music educators around the globe continue to work in blended environments, it is important to explore how pedagogical approaches can be adapted and reimagined in ways that enhance teaching and learning in this changing educational landscape. In this study, the authors drew on elements of Collaborative Online International Learning (COIL) to teach three culturally diverse songs to pre-service teachers at a Spanish university. Acting as culture bearers and tertiary music educators, they selected and taught songs from three different geographic locations (South Africa, Sri Lanka, and the United States). Utilizing a descriptive case study design, the authors discuss their pedagogical approach and argue a Four Step Flip method (Asynchronous, Synchronous, Face-to-Face, and Hybrid Feedback) can be effectively applied and adopted in online music teaching and learning settings. This model prioritizes the culture bearers' involvement in the learning process from start to finish while allowing students ample space to merge unfamiliar cultural perspectives with their own. The authors also contend building collaborative networks that extend beyond national borders can enhance understanding and appreciation of different genres, cultures, and languages in music classrooms. [ABSTRACT FROM AUTHOR]

Copyright of International Journal of Music Education is the property of Sage Publications, Ltd. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This scoping review addresses internationally published empirical studies on the subject of technology-enhanced creativity. The study aims to identify the types of technological tools used to enhance students' creativity and examine how technological tools can support students' creativity in K-12 music education. This review selected and analyzed 17 studies published from 1987 to 2022 in peer-reviewed journals using a rigorous five-stage scoping framework. Data extraction and analysis were conducted in Covidence. The results revealed eight types of technological tools used to enhance creativity in the music classroom, in which sequencer software and GarageBand were the most commonly used type of technological tools and applications respectively. Technology's support for creativity was also discussed from the perspectives of Lubart's four roles of computers: (a) computer as nanny, (b) computer as pen-pal, (c) computer as coach, and (d) computer as colleague. The results showed a dearth of research on how technology can become students' partners to help them generate creative ideas. Based on the findings, this review concluded with implications and recommendations for future research. [ABSTRACT FROM AUTHOR]

This research aimed to develop formative assessment rubrics for enhancing students' performance on Thai percussion instruments using the Many-Facet Rasch Measurement Partial Credit model (MFRM-PCM). Samples were high-school students playing four types of Thai instruments and the raters who were qualified and properly trained. The research instrument was rubrics used for assessing students' Thai percussion instruments skills. Each item contained five quality levels. The research methodology was divided into three phases, that is, the synthesis and verification of content validity, pre-testing of the psychometric properties and the assessment design, and the verification of the rubrics' psychometric properties. Four facets of the MFRM-PCM including students, raters, musical instruments, and items facet were employed to analyze the psychometric properties of the developed rubrics. It was found that the rubrics developed for assessing performances of Thai percussion instruments with the MFRM-PCM contained eight criteria and 12 items. The quality levels of the items after the category's effectiveness analysis were reduced ranging from two to three quality levels. [ABSTRACT FROM AUTHOR]

A correction is presented to the article "Integrating popular music into urban schools: Assessing the effectiveness of a comprehensive music teacher development program" which was published in a previous issue of the periodical.

This article presents an investigation on music education in Northern Ireland (NI) aimed at uncovering how 22 music teachers in post-primary schools addressed the 2007 statutory music curriculum in terms of its potential to promote social cohesion in NI's post-conflict society, where most schools are segregated on religious grounds. In the discussion we consider three curriculum requirements: (i) to promote cross-cultural and (ii) mutual understanding and (iii) to undertake shared learning through school collaboration. While presenting a primarily positive view to the promotion of cross-cultural understanding, the data outlines the existence of closed minds across the community divide. Approaches to mutual understanding evidenced a picture of classroom activity where it was translated into 'mutual respect'. Shared learning through school collaboration was treated on two fronts: collaboration needed to access external exams, and collaboration arising from the Department of Education's 2015 Shared Education initiative. While exam collaboration raised issues for pupils and teachers, the shared education initiative promoted a small number of cross-school projects driven by individual teachers. Educational implications are considered in the conclusions. [ABSTRACT FROM AUTHOR]

Children with severe multiple disabilities face numerous possibilities for enjoying music and participating in performance activities; however, the research practice for realizing these possibilities involves various difficulties. To understand the disabilities of children and their engagement with music, awareness of one's perception of disability is necessary for each practitioner–researcher. The researchers of the current study reflected on their personal views about disability and life histories and described and analyzed them through collaborative autoethnography (CAE). The study was conducted through the practice of combining electronic music equipment and traditional instruments as a music education project for children with severe multiple disabilities. The results demonstrated that the perceptions of the researchers about disability and their life histories interacted with and transformed their research practice. Additionally, the study highlighted how endeavors in CAE encouraged dialogue among researchers and deepened mutual understanding. The suggestions for researchers of music education practice with children with disabilities include analysis of disability from the first-person perspective and sharing of views among co-researchers. [ABSTRACT FROM AUTHOR]

This study focuses on exploring pre-service primary general teacher students' (N = 40) reflections on the opportunities they were given to awake their creativity, by participating systematically (13 weeks) in music improvisation activities, in the context of the course Music Education in a university classroom of a Greek Department of Primary Education. More specifically, it focuses on teacher-students' reflections on the implemented music improvisation activities, on team interactions, their perceptions regarding classroom atmosphere and the way they feel during their participation, their confidence-as future teachers-to integrate the music improvisation activities in their classroom, their preference for individual or group music improvisations activities, and their beliefs on the characteristics of a creative teacher. The improvisations were carried out individually, in pairs and in groups, using their voice, their body, and percussion musical instruments. Data were collected through observation, diary keeping, and questionnaires with open-ended and closed-ended questions. As the findings indicated the primary general teacher-students expressed positive attitude regarding the awaking of their own creativity, enjoyed their participation, developed a rather strong self-confidence to implement improvisational activities as future teachers and considered as creative teacher a well-prepared facilitator who ensures the conditions for an interesting, structured lesson and promotes cooperation. [ABSTRACT FROM AUTHOR]

Instrumental music teaching traditionally emphasizes the cognitive, motor, and motivational processes of score reproduction, often at the expense of creative musical activities, such as improvisation or composition. Since today's international art school curricula prominently include creativity competencies, opportunities to integrate creativity in instrumental lessons must be explored. This study investigates instrument teachers' conception of musical creativity: its scope, opportunities, and risks. About 273 teachers completed an online questionnaire on their use of creative class time, beliefs, and barriers to creative instrument teaching. Although the majority acknowledged the benefits of creative activities for score-playing, they invested little in improvisation and composition due to a lack of time and training in musical creativity. Teachers considered interpretation a valuable form of musical creativity, next to improvisation and composition, but questioned its feasibility in instrument lessons. Implications for instrument-teacher training are discussed. [ABSTRACT FROM AUTHOR]

The purpose of this study was to understand music teachers' experiences with an online professional development course focused on international-mindedness (IM). This course introduced the concept of IM by exposing xiaowai (out-of-school) music teachers in China to international music teaching methods. The results, which were based on interviews with the participants, journal entries, and teaching reflections, revealed the advantages and the difficulties these teachers identified when attempting to switch from their traditional teaching methods to a more international style. This research suggests that IM may be essential if xiaowai music teachers are to change their traditional way of teaching. The participants also experienced two types of limitations: some they saw and acknowledged themselves and others that they did not consciously perceive. The findings also suggest that it would be beneficial to explore a more "Chinese" way to implement IM. [ABSTRACT FROM AUTHOR]

The primary purpose of the study was to explore the current situation of Chinese music majors' self-regulated learning (SRL) in the individual music practice context. Two undergraduate piano players' music practice profiles were collected using SRL microanalysis protocols and follow-up semi-structured interviews. The results have shown: (1) there were obvious differences between the two Chinese music majors' before, during, and after their practice sessions; (2) both participants' SRL during music practice could be enhanced by developing advanced practice strategies (including metacognitive and mental strategies); (3) music majors' SRL has been influenced by Chinese culture when seeking help from teachers and in self-attribution; (4) the SRL microanalysis can effectively obtain specific contextualized information regarding music majors' behavior, cognition, and affect during their practice in the Chinese context. This study reflects the Chinese music majors' current situation in terms of self-regulated music practice and provides insights useful to understanding the practices of students influenced by Chinese culture and improving them to achieve higher levels of self-regulated music practice. [ABSTRACT FROM AUTHOR]

Teacher preparation for generalist (non-specialist) elementary teachers in Ontario typically comprises one compulsory music class. In entry surveys, many generalists describe themselves as highly apprehensive about and unconfident in their ability to teach music, confirming previous research. Using narrative inquiry, we explore the stories of both preservice and in-service generalist teachers. Data from focus groups with preservice teachers revealed that most participants felt markedly more comfortable with the prospect of teaching music in primary grades after taking our music courses; while fewer expressed confidence in teaching music to junior/intermediate grades. However, preservice teachers are rarely given the chance to observe or teach music while on practicum. Interviews with in-service generalist teachers revealed that a lack of confidence compelled them to take part in intentional, incremental, self-directed learning experiences to further develop their knowledge and skills for the elementary music classroom. The pandemic largely halted music activities, creating new barriers for generalist in-service teachers who teach music. The enduring gaps identified by this research are how to build more opportunities for generalist preservice teachers to practice their newly acquired skills while on practicum; and how to better support generalist in-service teachers to acquire additional skills for teaching music once in the classroom. [ABSTRACT FROM AUTHOR]

This study has as its purpose to ascertain and analyze the impact caused by the implementation of the Flipped Learning model on the students enrolled in the subject «music» of Spain's public Compulsory Secondary Education, as well as on their families, within a rural environment. A total of 25 female and male students and 13 relatives took part in the study. A methodology based on a mixed descriptive approach including the design of a collective case study was used. Data collection took place through the utilization of tools such as a questionnaire of a quantitative and qualitative nature administered after the experience and the establishment of discussion groups. The results show that both the students and their families have a favorable opinion about using the Flipped Learning model in the music classroom on a daily basis. They find no significant barriers or drawbacks beyond families' concern about potential technology-related problems derived from the economic investment required and an overexposure to screens. The conclusions drawn point at the relevance of integrating active methodologies, among them Flipped Learning, into music teaching. [ABSTRACT FROM AUTHOR]

This study examined demographic information for current music education faculty (N = 136), the factors that seem to influence music education faculty members' levels of job satisfaction and primary stressors, also by institution type. Simultaneous multiple regression revealed that academic autonomy, collegial support, sleep, parental responsibilities, and certainties of the tenure process affect music education faculty members' reported levels of job satisfaction and stress. Mean job satisfaction and stress scores for each group by Carnegie institution types were compared using a one-way ANOVA. Significant differences in stress scores between groups suggested that the larger institution group (R1) did not report feeling more stressed about professional responsibilities than the smaller institution group (M1). Analyses of open-ended questions also reinforced the notion that the COVID-19 pandemic increased flexibilities in work and parental responsibilities leading to lower stress levels. [ABSTRACT FROM AUTHOR]

Stress can affect teachers' mental and physical health, student-teacher relationships, and energy levels. During the COVID-19 pandemic, educators around the world experienced stress in terms of worry for their students and for their own well-being in terms of energy levels, sleep and anxiety. The purpose of this study was to examine female music educators' stress, stressors, and well-being during 1 year in the height of the COVID-19 pandemic. We examined these factors with participants, approximately 1 year into the pandemic in spring 2021 and this study explored the same educators' stressors 1 year later in spring 2022. Through this comparative case study, eight self-identified female music educators completed a questionnaire and participated in focus groups. We approached data collection through the theory of wellbeing and uncovered four themes; (a) self-care and mental health; (b) pressure and frustration; (c) scheduling and reprioritization; and (d) accommodation. Results suggest female participants experienced personal and professional stressors during the COVID-19 pandemic that impacted their well-being, with feelings of burnout, anxiety, and desires to possibly leave the teaching profession. [ABSTRACT FROM AUTHOR]

During the last decade, the Syrian crisis has, in various ways, imposed many fundamental changes upon Syrian society. It has pervaded cultural issues at large with a major effect on education. Ideologies, schooling, mass media, human relationships, and mutual understanding, all have been the target of fierce upheaval. This article examines the question of how much this crisis has affected the music education system, especially for children, who are its silent victims. Is there a big difference in music education and its delivery prior to 2011 and since? Which methods do teachers now have to use when they teach and how much are these methods far and free from politics? Does music serve special goals and ideologies? To answer these questions, I wrote a short historical review about the Syrian education system, and interviewed three music teachers who studied in and currently work in Syria for the purpose of obtaining their feedback of the status of teaching/learning music in Syria. To document and support my work I included and analyzed some publicly available videos. The aim of this research work was to investigate to what extent the music curricula are appropriate for primary education especially in this time of crisis; and ascertain whether they resonate with Syrian children's conditions and provide some positive influence during the difficult time that the country current experience. [ABSTRACT FROM AUTHOR]

Sight-singing and musical dictation are considered as complementary activities by different Ear Training pedagogues but, surprisingly, studies conducted with participants working individually were not able to find benefits of singing associated with dictation taking. This pilot study aims at observing the effect of a sight-singing, performed collectively before melodic dictation, on dictation results. We carried out an experimental study involving 54 students from three universities, who were tested in situations emulating Ear Training classes. The experimental group performed a collective sight-singing before the dictation, and the control group remained silent during the activity. Statistical analyses demonstrated that the experimental group had a significantly better performance on dictation than the control group, showing new data in relation to previous researches, that did not observe contributions of sight-singing related to dictation taking. We believe that collective sight-singing promotes cooperation between students, leading to better performance on reading than individual activities, thus improving dictation results. Although our pilot study counted on a small number of participants, remaining the necessity of future research expanding this one, it points to the potential benefits that collective activities could bring to the often-individualized instruction in Ear Training classes. [ABSTRACT FROM AUTHOR]

Contemporary literature suggests that music education is stuck in a cycle of cultural reproduction in which music teachers and curriculum writers value Western art music more than culturally-diverse and modern, technology-saturated musics, and train the next generation to hold similar views. A MOOC (Massive Open Online Course) was developed to challenge music teachers' worldviews and to develop critical thinking about the field. In this mixed-methods study, we analysed 18 months of qualitative and quantitative data provided by the more than 1,600 course participants in response to paedagogical 'provocations' to assess whether it was successful in prompting critical thinking and worldview change. We used three methods to interrogate three distinct datasets: basic content analysis of participants' publicly written reflections, statistical analysis of peer marking and context-network maps of peer comments. Between-methods triangulation crystallised our findings. We find that through required peer-review of public postings, an online community of practice formed, that it encouraged teachers to engage deeply with new ideas, and engage in Critical Thinking. We find that those who had a disposition towards critical thinking in the early assessments responded most positively to the pedagogy of provocation and were consistently prepared to question their own worldview and practice. [ABSTRACT FROM AUTHOR]

Within an Orff-based program implemented in Israel, this mixed-methods study examined the effects of age on emerging rhythmic literacy in children. Participants (N = 132) were kindergarteners (n = 45) and first-graders (n = 87) aged 4 to 7.8 years. The participants performed a rhythm entitled "Rhythm-A" through the body and instrumental percussion and then were required to create a self-invented notation of the rhythm. A one-session literacy intervention program, based on teaching standard rhythm notation, followed with randomly selected first-graders (n = 44). Its purpose was to investigate the effect of standard notation instruction on children's ability to notate Rhythm-A. Results indicated (1) a significant age effect on children's emergent rhythmic literacy and (2) a significant effect of a one-session literacy intervention program on participants' post-intervention notations. The study has relevance to research on Orff-based music education and music literacy. [ABSTRACT FROM AUTHOR]

Musical Futures (MF) is an internationally recognised approach to music teaching aimed at developing high levels of student engagement through practical music making. Set up in the UK in 2003 Musical Futures is typical of approaches to education aimed at increasing levels of student autonomy through a strong emphasis on student-led discovery learning. A study was undertaken in 2020 to 2021 in New Zealand which investigated how a small number of teachers understand and utilise Musical Futures as an approach for classroom music teaching. The data was obtained through semi-structured interviews with teachers in New Zealand and leaders of the Musical Futures International team in Australia who offer training in New Zealand. Green's original conceptualisation of informal learning was used as the main theoretical bench-mark against which teacher practices were compared and the findings reveal a shift away from the original idea of a discovery approach into the deep end, to more systemised learning. Bernstein's concept of recontextualisation is used to make sense of this process of adaptation and change in the curriculum making process. [ABSTRACT FROM AUTHOR]

'Simultaneous Learning' (SL) is a pedagogical approach aimed at fostering enjoyable and proactive music teaching. Developed by the British educationalist Paul Harris, SL has been taught worldwide for the past two decades but has not yet been investigated by a scholarly publication. We thus focused our research on the first usage of SL in the context of one-to-one instrumental music lessons by training a selected group of teachers who had no prior experience with this approach. The data was collected through in-depth semi-structured interviews, focus group interview and journals kept by the teachers. We then used Interpretative Phenomenological Analysis (IPA) to understand the teachers' and students' experiences of instructing and being instructed according to the SL approach, respectively. Based on our results, we provide a structure to their lived experiences and explore the meanings they attached to them, among which positive experiences, challenges and the influence of SL on particular skills are identified. Furthermore, we offer implications that may benefit studio music tuition based on the insights provided by our analyses. [ABSTRACT FROM AUTHOR]

How can music educators explore the intersections of spirituality, relationships, and music education? The purpose of this paper is to examine how the Pixar film, "Soul," models the transformation that can occur when a music teacher embraces spirituality and the preciousness of everyday life both in and out of the classroom through experiences in spatiality, corporeality, temporality, and relationality. To explore the film's implications, I use a conceptual model of spirituality from van der Merwe and Habron and a theoretical framework from Boyce-Tillman which explores ideas of eudaimonia, spirituality, and music education. The film's protagonist, Joe Gardner, who evolves past his own ego and comes to share the joy of everyday experiences with a fearful student, may serve as a model for music educators who are seeking to find meaning in the daily life of music teaching and learning. Because discussing films seems so natural to our social experience, pondering how characters evolve and come to understand their purpose may help music teachers develop a deeper understanding of their own identity and interconnected relationships with students.

Musician-teacher identity is a "work-in-progress" spanning a career lifetime, yet little research appears to explore how this culminative development occurs, particularly from an individualized musician-teacher viewpoint. Using a qualitative epistemology, the author examines autoethnographic vignettes of life experience to highlight how changes of aging, work environments, and personal circumstances guide such a musician-teacher's journey. A "rivers of experience" approach, combined with several frames of reference, uncovers epiphanic moments showing how local and international contexts shape musician-teacher identity. Given the enormous changes in education over the past 40 years, and the changing, challenging world of COVID-19, this article is a timely and needed catalyst for others to reflect on their own experiences as they look to their futures.

While choices of musical repertory are key to challenging the historical ethnocentrism of school music curricula, ethnocentrism manifests as powerfully in the way a curriculum defines and structures musical knowledge. This article examines the knowledge divisions used to structure one of the most popular and reputable high school music curricula worldwide: the International Baccalaureate (IB). My analysis indicates that, while IB music gestures rhetorically to cultural and epistemic pluralism, its primary knowledge divisions—Musical Perception, Creating, and Performing—are fundamentally rooted in modern Euro-American conceptions of musical knowledge and ways of knowing. This study demonstrates the importance of explicitly acknowledging the epistemic foundations of music curricula's foundations so that teachers and their students can better decide how they want to engage with the knowledge presented. [ABSTRACT FROM AUTHOR]

In what ways can a community music education project based on historical re-enactment be a vehicle for transformational learning, empowerment and reconnection with community? In 2018, Serenading Adela was performed to celebrate and remember the 100th anniversary of a moment in history when women sang under the prison cell window of Adela Pankhurst, an anti-conscriptionist. The operatic work, which recruited 100 adult participants, was conceived and developed over almost 2 years and rehearsed for 5 months. The researchers were interested in participants' motivations and their experiences of engagement with a story of historical injustice. Data were collected by holding interviews and focus groups and analysed using thematic analysis informed by Freirean concepts. Five themes emerged, indicating that the pedagogical approach and ideologies of the directors enabled and nurtured collaborative connections, personal growth, new perspectives, meaning-making and empowerment for a diverse group of adults. [ABSTRACT FROM AUTHOR]

Although studying music at school can be an enriching and enjoyable experience, it is an unpopular choice for many Hong Kong senior secondary students. The purpose of this study was to examine the rationale behind the low enrolment of music as a Hong Kong Diploma of Secondary Education (HKDSE) subject. A questionnaire was conducted among senior secondary school students (N = 121) studying music at the HKDSE level, collecting information about their learning experiences and their perceptions of the curriculum. The results provided evidence supporting the difficulties and struggles faced by the students, including degrees of familiarity with, and confidence about, subject matters of different musical cultures, which subjects were prioritised when it came to studying, and the amount of prior specialist knowledge needed as part of the decision-making process. Tensions were revealed between the driving forces behind curriculum change and the readiness of students to cope with these changes, along with perceptions of music as an elitist subject with low utilitarian value. Socio-cultural interventions, such as making music education more accessible for all, while simultaneously ensuring that stakeholders' voices are heard as part of the decolonisation process, remain fundamental challenges facing the curriculum. [ABSTRACT FROM AUTHOR]

Our research evaluates the effectiveness of a community musical learning exchange (MLE) that included group singing, guided conversations, and reflection. The respondents (N = 290) who participated in the MLE included members of the Soweto Gospel Choir (n = 17), Soweto Gospel Choir Crew (n = 3), prison choir incarcerated singers (n = 41), prison choir non-incarcerated singers (n = 41), and community guest-participants (n = 188). We studied: To what extent did respondents engage in singing and conversations during the learning exchange? To what degree did the respondents perceive the various components of the learning exchange helped them reflect upon the theme? What similarities and differences existed among various groups regarding these perceptions? Results suggest the MLE model was effective for intercultural sharing and most respondents engaged in singing and conversations. The guided conversations within a musical event were novel experiences, with the majority describing these as very effective components of the MLE. Respondents noted that both these guided conversations and spoken reflections prior to song selections from prison choir members and singing together most effectively helped them engage with the theme. We offer suggestions for musical leaders to implement MLEs and we make recommendations for future related research. [ABSTRACT FROM AUTHOR]

The present article provides an in-depth look at the strategies and practices developed by a cohort of primary school music teachers in Italy to deliver online music lessons during the COVID-19 lockdown. We used a qualitative methodology based on semi-structured interviews to bring out our participants' voices and reflections in a very personal manner and examine their perspectives on issues important to their profession and daily work. We were interested in investigating which practices and strategies were used or developed to deal with the difficulties and positive aspects characterising their experiences as teachers during the lockdown period. A focus was put on lesson planning, time management, student involvement, and information and communication technology (ICT) skills. Qualitative data were analysed using an inductive method based on grounded theory, giving rise to the five following dimensions: classroom activities; the role of the school and staff members; teachers' interactions with children and their parents; positive outcomes; unresolved challenges. Participants discussed how they used ICT and managed their classes remotely, provided vivid descriptions of their professional relationships with colleagues and students, and reflected on the advantages and disadvantages of teaching music remotely, pointing to new ways to improve current teaching methodologies. [ABSTRACT FROM AUTHOR]