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In U.S. music education, the elementary music program is the level most likely to include all students, before music becomes an elective choice in secondary schools. As students approach adolescence, however, their interest in general music may decline, particularly if they are not engaged in activities they find meaningful. Although past research suggests activities that upper elementary students may prefer, much U.S. research was completed over two decades ago. In this research-to-practice series, we demonstrate how teachers can structure activities for upper elementary (grades 3–5) students based on students’ preferences. In this first article, we briefly review previous scholarship related to elementary students’ music class interests as well as work that supports the idea of building relationships with students. Then, we present ideas to help teachers get to know learners’ preferences using different types of survey materials. Suggestions for understanding and conducting research are also provided for teachers interested in engaging in action research in their settings.

To increase equity in music education, teachers can strive to know each student as a whole child, proactively remove barriers to learning, and seek to honor students’ multifaceted and intersectional identities. In this article, we first define intersectionality and examine demographics in music education. Then, we summarize three asset-based pedagogical approaches (Universal Design for Learning, Culturally Responsive Education, and Trauma-Informed Education) and synthesize their similarities. Finally, we present implications in the form of generative ideas for music educator praxis, or values-guided action. We hope our suggestions help music educators create music experiences where students (and families) feel seen, safe, welcomed, and valued as musicians and people. We also hope our suggestions can contribute to music teacher collegiality and collaboration by providing educators with tools to develop positive relationships with colleagues who are different from themselves.

Adolescents on the autism spectrum may experience challenges with multiple domains of communication that impact their quality of life. Both music therapists and speech-language pathologists (SLPs) implement activities to address these challenges. Empirical evidence suggests that incorporating music into treatment can be an effective way to improve communication. The purpose of this article is to provide suggestions for music therapists assisting adolescents on the autism spectrum to improve their communication skills and ways to collaborate with SLPs in doing so. In this paper, we discuss interprofessional collaborative models (e.g., interdisciplinary, transdisciplinary) and competencies (e.g., coordination, adaptability), as well as music-based clinical experiences that appeal to adolescents, and target improvement of communication skills for learners with complex communication needs.

Although many music teacher candidates begin university studies planning to teach secondary ensembles, most will ultimately be certified to teach younger children and may be called to do so. The purpose of this study was to examine how music teacher education programs prepare preservice music educators to teach music to children from birth through elementary school through coursework. We emailed survey invitations to representatives from 512 institutions accredited by the National Association of Schools of Music to prepare music educators. We received 134 usable responses (response rate = 26%). Nearly all respondents offered elementary general music methods (EGMM), and over three quarters required EGMM for all students in initial licensure programs. Only about one in ten responding institutions offered early childhood music methods (ECMM). We describe findings on EGMM and ECMM course structures, content, and materials as well as the employment status, degree background, and other qualifications of the person who typically taught this coursework

General music teachers can promote gender inclusivity in music classrooms through music listening activities. Helping all students feel included and honored could improve student learning and foster continued and diversified music listening in school and beyond. The purpose of this article, the first of three about gender inclusivity in general music, is to help music teachers create inclusive general music experiences to support all students during music listening activities. By knowing learners as individuals, teachers can help all students feel valued in music classrooms, which may serve to deepen and extend their music listening skills and preferences.

As stakeholders turn to online methods, researchers would benefit from assistance in identifying ways to address important questions related to children’s musical lives in an altered research landscape. The purpose of this article is to describe how online methods can be used to conduct research with young children and music. A secondary purpose is to introduce and orient readers to relevant literature and resources to enable them to complete investigations. Our discussion is presented in three primary sections: online research with children and music, ethical considerations and suggestions for practice. Sections one and two provide general overviews of relevant literature and resources while establishing a foundation for our suggestions, which are also informed by our previous experiences. As researchers, we began this investigation to address a need in our own work, and we offer our preliminary findings and suggestions in this article as a resource for others.

Feelings of shame may contribute to music teachers and music teacher educators being unwilling to discuss needs and concerns for fear of being judged or seen as inadequate. Shame or fear of feeling shame can also lead individuals to withdraw or perpetuate negative behaviors. Although shame is often a natural part of the human experience, the diverse nature of the content in music education, the wide variety of learners in various music education spaces, and music teachers’ beliefs and practices can be sources of shame among music teachers. This article aims to start a conversation about shame in music education and help music educators and music teacher educators feel empowered to use shame resilience theory as a means of understanding and coping with feelings of shame.

Students often enter secondary schools with increased autonomy over course selection and how they meet graduation requirements. Those who once participated in school music may discontinue music studies for a variety of reasons. Music teachers should be mindful of factors that may affect a student’s ability or desire to participate in school music. This article discusses these factors and suggests practices to increase access to music education for all students. By examining practices and considering ways they can be altered or expanded to provide more options and be more inclusive, music educators may be able to provide more opportunities for all students.

The elementary music program is often most likely to include all students in the United States. As such, teachers have an opportunity to encourage lifelong musicianship and musical engagement. Researchers have reported, however, that children’s interest in school music activities declines over the elementary years, and general music teachers struggle to invigorate older students. This raises questions about the nature of school music and why some students lose interest or cease participating. Recently, teachers have sought to address student preferences through diverse offerings, such as popular music instruction and ensemble-focused music classes. Still, teachers cannot be sure they are addressing students’ interests without seeking students’ input. In this second article in our research-to-practice series, we demonstrate this process, sharing how we surveyed students in Grades 3 to 5 regarding their music class activity preferences. Understanding the activities children enjoy and tailoring experiences accordingly may help increase school music engagement and support children’s lifelong musicianship.

Although resources exist to help instrumental music teachers assist learners in inclusive settings, students’ voices may be absent from those resources. As such, music teachers may struggle to honor the needs and experiences of students with physical differences. Students with physical differences may be steered away from instrumental music or toward an instrument that may not be the student’s preference. The purpose of this study was to understand the stories of students with physical differences and their teacher to examine how participation in instrumental music was enabled in this setting. Data were generated through examining artifacts and completing interviews with the instrumental music teacher, students, and students’ parents. Interview data were analyzed using process/action coding. Main themes that emerged were (a) previous experiences and prior knowledge, (b) recognizing strengths and challenges, (c) perseverance toward desires in the face of uncertainty, (d) help and support from others, and (e) materials. Implications for future research and possible applications to music teaching and music teacher education are discussed.

The purpose of this study was to investigate the relationship between phonological awareness and music aptitude. I administered the Intermediate Measures of Music Audiation (IMMA) to second-grade students in a rural school in Pennsylvania ( N = 17). Speech-language specialists administered a hearing screening and The Phonological Awareness Test 2 (PAT-2) individually to participants and scored the measures. Findings indicated a moderate, positive relationship between PAT-2 standardized composite scores and IMMA raw Tonal subtest scores ( r = .485). A linear regression indicated IMMA raw Tonal subtest scores predicted PAT-2 standardized composite scores. The relationship between music aptitude and phonological awareness has implications for students, music teachers, and professionals who may remediate literacy skills, such as reading specialists, speech-language pathologists, and music therapists.

Positive self-esteem helps students succeed in and outside of music classrooms. High self-esteem is associated with a positive self-image and fine musicianship. Conversely, low self-esteem is associated with a negative self-image and poorer musicianship. Because students’ self-esteem may affect their participation in music classes, the music teacher should help students improve self-esteem while simultaneously building musical skills. Music experiences should take place in a safe environment with a trained music specialist who has a positive rapport with students and integrates their interests. Activities should be developmentally appropriate and adequately challenge students, while allowing for success. Researchers have demonstrated that singing, playing instruments, experiencing a variety of musical styles, moving, building musical knowledge, and creating can help students develop musical skills and improve their self-esteem.