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Chinese Gu Shi Ci art songs are a genre that combines ancient Chinese poetry with music, reflecting profound emotional depth and cultural ethos. The primary objective is to investigate the integration of vocal techniques and musical literacy in the performance of Chinese Gu Shi Ci art songs. The study conducted at Nanchang University and the China Conservatory of Music involved interviews and observations with five key informants: professors, vocal coaches, professional singers, music educators, and opera performers. Data analysis included transcribing interviews, coding for recurring themes, and cross-referencing observational data. The findings reveal that precise vocal techniques, such as breath control and tone modulation, and a deep understanding of the poems' contexts significantly enhance performance authenticity and emotional resonance. The study underscores the need for an integrated curriculum in music education that combines technical skills with cultural and literary education. It suggests incorporating historical context modules, technical workshops, interdisciplinary approaches, performance analysis, and practical opportunities to foster a comprehensive understanding of Gu Shi Ci art songs. This approach can deepen students' appreciation and ensure the rich cultural heritage of these songs continues to resonate with contemporary audiences.

The Dong Grand Songs, renowned for their polyphonic choral arrangements, are a vital cultural heritage of the Dong ethnic group. This study investigates the contemporary educational approaches to the literacy and development of the Dong Grand Songs in Guangxi, China. Employing a qualitative design, the research includes fieldwork, in-depth interviews, participant observation, and document analysis. Key informants comprise school administrators, teachers, song teachers, cultural inheritors, students, and community members. The findings reveal that integrating Dong Grand Song courses into primary and secondary school curricula, with support from song teachers and cultural inheritors, effectively enhances musical literacy and preserves this tradition. However, challenges such as youth migration, modern entertainment influences, and the aging population of song masters threaten the continuity of this cultural heritage. The study suggests comprehensive approaches, including economic support for rural areas, increased public awareness, and sustainable cultural programs, are necessary to address these challenges. This research provides valuable insights for policymakers, educators, and cultural practitioners on preserving intangible cultural heritage and promoting musical literacy through education.

Teaching in contemporary schools raises complex questions about how to engage meaningfully with diversity. Working within already politicized and fast-changing sociocultural landscapes, the diversity that teachers are required to navigate can no longer be accounted for by pre-existing categorizations. New qualities of difference are continually emerging through students' and teachers' own identity development and the continually evolving relationships that are part of everyday classroom work. As such, teaching also involves a dynamic approach to decision-making as to what is "right" and "good" in and through music, indeed, the very axiological premises of music education are constantly called into question. In this paper, we heuristically engage with the theoretical writings of Bauman, Greene, and Hare to formulate invitations through which music teacher education might approach these complex, dynamic, and intersecting diversities. By assuming complexity, approaching learning as an adventure, alternating between the personal and the professional, assuming a researcher disposition, fostering artistic play, and (co-)imagining possible futures, we suggest that future teachers might be equipped to resist the passive acceptance of the status quo and explore how we might practice the art of living with difference, together.

Drawing upon autoethnographic experience as a music educator, I make the assertion that transformative learning is particularly amplified in locations where a person encounters the unfamiliar, for those are often the precise places where an individual's habitus no longer holds efficacy. To build this argument, I propose that when inner consciousness intersects with place-shaping processes, transformative learning takes place in a connected, compassionate, and creative manner. I infuse this framework with Pierre Bourdieu's work on habitus, in which he suggests that inner consciousness shapes, and is shaped by, a person's social encounters. Thus, in this lived aesthetic inquiry, I propose that transformative learning has substantial intersectionality with socially constructed understandings of place.

The most important factor negatively affecting individuals' success in professional music education is anxiety of unemployment. For them, graduation from university means the beginning of a life of either employment or unemployment. Job selection plans about the role in real life, friendships, fear of unemployment, and other responsibilities are some of the factors creating anxiety. The aim of this research is to discover the professional anxieties of the music teacher candidates studying in music education departments. The study sought to investigate whether the professional anxiety of the teacher candidates varies depending on their gender, income level of their families, the way they studied musical teaching, and their grades. This research is a descriptive study conducted for the purpose of determining the "anxiety levels" of music teacher candidates in Turkey. The data was collected using a personal information form and the anxiety scales for teacher candidates. The sample group of the study consisted of 80 students studying in Marmara University. According to the study, meaningful variances exist between the variables such as "gender, grade, and income level of the family" and professional anxiety levels.

Music education where applied lessons are intensive is undoubtedly, one of the most challenging educational fields in the distance education process that started with the pandemic. In this field, it is of great importance for the effectiveness and accuracy of learning that most of the courses should be carried out face to face whether one-on-one or in groups. Choral education is one of the applied and face-to-face lessons performed under the supervision of a choral educator. The question of how collective instrument/voice training practices, in which sound and image occur simultaneously (synchronic), will be carried out through distance education, has also come to the fore with the COVID 19 Pandemic. This research was conducted to find an answer to this question and to compile the opinions and suggestions of choir educators based on their teaching experiences regarding distance choir education. For this purpose, an online survey was prepared to collect data and enable educators from different countries to participate. The data obtained was analyzed through descriptive analysis and processed according to the predetermined thematic framework. It is thought that the research findings are important in terms of providing information (how to organize the online education/training environment, teaching methods, techniques and approaches) for the distance education of the relevant applied courses that can be experienced again - if deemed necessary - and is a useful resource in the field.

Throughout the history of classical music piano, various schools have emerged, often named after cities such as London, Vienna, and Hamburg. Today, it is widely accepted that there are three major piano schools: the French, German, and Russian schools. This study briefly mentions the history of Russian classical music and the development of the piano school in the country. It explores the individuals who played a significant role in this process and the techniques they employed in piano education. The main objective of the study is to determine the development of the piano school in Russia, the key influencers in this process, and the techniques used in piano education. The study employed a literature review and semi-structured interviews. As a result of the study it can be said that many important artists and teachers, especially Anton and Nicolai Rubinstein, created a classical music culture and tradition in Russia. Piano education based on a solid foundation, combined with the musical talent of the Russian nation, has enabled Russia to become one of the leading countries in piano performance today.

Dazu vocal music, a unique and cherished intangible cultural heritage, serves as the focal point of this research conducted in Chongqing, China. The study's objective is to investigate the contribution of cultural transmission of Dazu vocal music in Chongqing through education and literacy. The research site, Dazu City, is the epicenter of this cultural treasure, encompassing various educational institutions from primary to tertiary levels that engage with this art form. Two key informants, comprising experienced instructors and cultural representatives, offer valuable insights into the educational initiatives and literacy practices supporting Dazu vocal music. Research tools, including observation and interview forms, are employed for data collection, culminating in a detailed analysis of the cultural transmission process. The study's results underscore education's pivotal role in preserving Dazu vocal music, fostering hand-son learning, and promoting cultural documentation, with literacy facilitating accessibility beyond oral traditions. These efforts positively impact the local community by enhancing cultural identity and pride. Despite challenges such as an aging practitioner population and shifting cultural dynamics, collaboration among stakeholders emerges as a promising strategy for ensuring the tradition's continuity. In conclusion, this research highlights the importance of education and literacy in preserving intangible cultural heritage, offering insights applicable to similar endeavors worldwide.

Digital story is an instructional technology material created by blending elements such as audio, image, video related to the subject to be told with the help of digital tools. This study aimed to determine music teachers' views on digital story. Qualitative research design was utilized in the study. The sample of the study consisted of volunteer music teachers in Turkey. In order to collect the data, the interview form prepared by the researcher was completed by taking expert opinion and delivered to the teachers via Google Forms. The data of the study were analyzed by content analysis method. In line with the information provided, positive results were obtained regarding the use of digital story; music teachers were open to the use of digital story in lessons. It was seen as a very useful, entertaining and motivating material for students, and important results were obtained such as their desire to receive training on digital story and their need for this training.

The Salar vocal folk music is a unique intangible cultural heritage of the Salar ethnic minority in Qinghai Province, China. The objective of this interdisciplinary study is to investigate the role of education and literacy in the preservation and transmission of Salar vocal folk music in Qinghai Province, China. The research site, Xunhua Salar Autonomous County, serves as a cultural epicenter where Salar traditions have thrived for centuries, providing an authentic setting for immersive fieldwork. Key informants include Salar musicians, educators, community leaders, and government officials who play vital roles in the preservation and transmission of this heritage. Data was collected through participant observation, interviews, and documentation of Salar vocal folk music performances. Musicological analysis and preservation and transmission theory were applied to the data, revealing the historical roots, cultural significance, and current challenges faced by Salar vocal folk music. The study culminates in guidelines for the preservation and transmission of this tradition, emphasizing government support, modernization, education, innovation, diverse communication, and legal safeguards.

Individuals need motivation in their work, this motivation makes individuals more efficient. Considering that music education is a long way, individuals become more successful with certain discipline and motivation, and the pleasure in the work done increases. This study was conducted to examine the musical motivation levels of prospective music teachers in Turkey. In this study, survey design, which is one of the quantitative research methods, was used. The sample group of the study consisted of 4th grade students by using the easily accessible case sampling method, which is one of the purposeful sampling methods. The first data collection tool is the "Personal Information Form" developed by the researcher to obtain the demographic characteristics of the students, and the second data collection tool is the "Motivation Scale" developed by Asmus in 1989 to measure the musical motivation of the students. Percentage, frequency and independent t-test analysis techniques were used in the analysis of the research data. According to the results of the research, it was seen that musical background affected motivation in the gender variable, while environmental factors and individual music interest in the family did not affect motivation. Regarding the age variable, it was found that musical background and environmental factors had no significant relationship with musical motivation, but individual musical interest in the family affected motivation.

The purpose of this study is to uncover and comprehend the current state of pre-service music teachers' use of self-regulated learning skills in instrument education, as well as the obstacles they face and the techniques they use to develop these skills throughout their instrument education. The data were obtained from participants' experiences and opinions and may be used to develop a conceptual framework concerning self-regulated learning skills and how these skills can be applied in teaching. This study reveals the importance of autonomy and co-regulation in the learning process, with a focus on teachers' roles in fostering student autonomy and giving support. Previous research has shown that self-regulation tactics can be incorporated in education to improve learners' self-regulation capacities. This study suggests that the "Individualized and Co-regulated Teaching Model in Instrument Education," a student-centered method that stresses dialogue-oriented learning, teacher-student interaction, and tailored learning needs may be appropriate for many learners. Teachers are encouraged to adopt individualized teaching orientations, allowing students to set their own learning goals and monitor their progress, as guided by this model. Furthermore, efficient communication and co-regulation between teachers and students promote self-regulation and musical development. Given the growing importance of self-regulated learning skills in the distance learning era, educational programs should focus their development and empower learners to become independent, and lifelong learners through collaborative knowledge production. The findings of this study imply that more research on the application of self-regulation skills in instrument acquisition among lower-achieving or less-experienced students is needed. Overall, this study highlights the importance of self-regulated learning skills in instrument teaching and advocates its incorporation into instructional procedures.

Huai Opera is a traditional Chinese operatic form known for its distinctive vocal techniques,melodic tunes, and captivating storytelling, originating from the Huai River region in China. Thestudy's primary objective is to investigate vocal technique literacy in Huai Opera for school-based musicians education in Shanghai Municipality, China. Anchored in musicology and ethnomusicology, this research is conducted within the School of Huai Opera, encompassing the Southern and Northern Schools, known for their distinctive regional influences and vocal styles. Two key informants,a seasoned Huai Opera performer and vocal instructor and an accomplished ethnomusicologist,lend their unique insights to shed light on the multifaceted nature of vocal technique literacy inHuai Opera education. The structured interviews and systematic observations that were used tocollect data are carefully analyzed to show the different breathing techniques, vocal techniques, and rhythms that makeup Huai Opera's vocal technique literacy curriculum. The study's finding sunderscore the significance of integrating traditional arts into contemporary education systems to preserve cultural heritage and enrich students' educational experiences. It emphasizes the need for innovative pedagogical approaches and highlights the role of traditional arts in nurturing cultural engagement among youth.

The COVID-19 pandemic has prompted significant changes in education, including a widespread transition from traditional, in-person instruction to online learning, which has also affected music conservatories. This study investigates the relationship between social outcome expectations and teacher satisfaction with remote education (SRE) among conservatory music professors during the pandemic. Rooted in the Social Cognitive Theory (SCT), the study examines whether technostress mediates this relationship and whether the intention to use information and communication technology (ICT) moderates it. A cross-sectional survey was conducted among 108 Italian conservatory teachers through an online self-report questionnaire. The results indicate a negative indirect effect of social outcome expectations on teacher satisfaction through technostress. However, surprisingly, the direct effect was positive and stronger. The study suggests that social expectations lead to technostress. Still, they also present an opportunity for music educators to embrace the challenge of remote education and increase their satisfaction with it.

Miao Nationality music represents a profound and longstanding musical heritage from the cultural legacy of the Miao community in Yunnan Province, China. This qualitative research study endeavor aims to explore the historical development and transmission of Miao Nationality music, emphasizing its significance within the context of ethnomusicology, cultural transmission theory, and education theory. The chosen research site strategically focuses on Yunnan Province, China, especially targeting regions with substantial Miao populace and deeply entranced musical traditions. Seven key informants, including elder musicians, music educators, community leaders, and cultural enthusiasts, were purposefully sampled to provide expert insights. A thematic analysis of qualitative data gathered through interviews and observations revealed important information about the ancient roots of Miao Nationality music, how it is used in everyday life, how cultural exchanges affect it, and how important it is for traditional instruments, vocal styles, and passing down the music from one generation to the next. The study suggests strategies for safeguarding and disseminating Miao Nationality music, emphasizing cultural awareness, technological advancements, support for inheritors, environmental protection, and innovative communication methods.

The COVID-19 pandemic, which emerged during 2020, had a wide-ranging impact on all forms of social engagement in England until February 2022, when all COVID restrictions were lifted. Schools were widely affected during this time in both tangible and tacet interactions. The impact of COVID restrictions on curricula for 11-14-year-olds in the Key Stage 3 secondary music classroom in schools has been among the more hidden educational impacts, and research in this area has been limited. This article discusses research conducted between November 2020 and June 2021, which took the form of an online survey with 59 classroom music teachers and semi-structured interviews with 12 music teacher participants. Adopting a methodology of descriptive coding and thematic analysis for interviews and open-response survey questions, the findings reveal 10 unintended consequences of COVID-19 safety measures for curriculum music teaching in schools. The article concludes by developing the concept of the 'funnelling' of music teaching during this time and explores the lasting impacts of such treatment, tracing the implications for the future of music curriculum in school and policy contexts.

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.

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.

Initial teacher education plays an important role in preparing music teachers for schools. There is a growing interest in Chinese music teacher education, though limited research currently exists. This study investigated early-career teachers' perspectives concerning the efficacy of the initial music teacher education program at Yu Cai Normal University (pseudonym), China. This mixed-methods study used a sequential explanatory design where qualitative interview data were used to provide further explanation and detail regarding survey results. The perceptions of early-career music teachers were sought on the importance, effectiveness, and usefulness of their initial teacher education and the most rewarding and challenging aspects of their beginning careers. Phase 1 of the data collection consisted of an online survey with 32 music education graduates of Yu Cai Normal University from 2015-2019. Phase 2 involved one-on-one semi-structured online interviews with three participants offering a range of views. Phase 3 was a combined analysis and discussion of the findings from Phases 1 and 2. Findings indicate that early-career music teachers highly valued their initial teacher education and their studies adequately prepared them for work, though the quality of their university subjects could still be improved. Early-career music teachers embrace the challenges of the profession and choir, competitions, and the act of teaching are their greatest rewards. Practical subjects remain the most critical components of music teacher education, and theory must be situated in contextualized practice.

When the need of transforming and remixing music education is illuminated, fields of tensions in relation to the traditional master-apprentice model of teaching often appear. Binaries have been constructed and critiqued in research to describe tensions at various music educational levels. Some studies have also asked for a holistic, "both/and" holding. In higher music education (HME), the need for new approaches in research to understand how teaching and learning is developing are asked for. As a contribution, the overall aim of the article is to illuminate to what extent traditional culture norms and structures are maintained and challenged at three European conservatories. The specific aim is to map possible fields of tension surrounding approaches to teaching and related learning. The analysis in this article partly builds on understandings of culture and institutions, and partly on theories of relational pedagogy. To get access to how leaders, teachers, and students experience participating in the teaching and learning of conservatory cultures, an interview study was planned. The transcriptions were treated by a thematic analysis model. The analysis explored three themes that represent fields of tension: teaching in relation to established cultural structures, to create or not create new learning trajectories, and collaboration or competition--the educational culture. The fields of tension found through the analysis concern relations between the traditional conserved conservatory teaching and new open and diverse thoughts about and actions within in HME teaching. It becomes obvious that creating new learning trajectories should be a common issue, involving students and teachers, as well as leaders of conservatories, and that competition should be supported by collaboration. A consequence of such a pedagogical approach would be that differences between programs for diverse instruments could be balanced, and that all involved could learn from each other, which demands flexibility between individual and collaborative learning activities.

Empathy enables successful communication and connection between teachers and their students, yet few studies have investigated its specific use in teaching singing. Addressing this gap, we interviewed voice teachers to discover how they articulate their pedagogy in terms of empathic practices and observed one-to-one lessons for evidence of the same. A sample of 27 classical and music theater voice teachers in Australia (70% females, 30% males), aged 35 to 75 years old (M = 55) were interviewed. Of this cohort, seven teachers were observed in their one-to-one teaching practices. Interviews and observations were analyzed using Interpretative Phenomenological Analysis. Results indicated that voice teachers tailor their practices to the needs of students and demonstrate characteristics of teacher empathy identified in previous literature: effective communication, positive relationships, care, welcoming learning environment, trust, morality, and listening. Empathic teaching facilitates an individualized approach in which singing students are supported and motivated in their own autonomous learning environment. These findings have implications for voice pedagogy that features the use of empathy to benefit future students.

Teachers are regularly confronted with paradoxes in their profession: clashes between different sets of values, their roles and their personal authenticity, the desire to be open but also detached, and the willingness to encourage students to have their own opinion but at the same time to obey and adapt. In this article, we investigate paradoxes in the music teaching profession with the aim of identifying those that are inherent to the field of music education and do not depend on a specific place or cultural context. To comprehend these paradoxes, we conducted a narrative study focused on the experiences of music teachers as presented through their own stories. This narrative study of 12 music teachers who worked with 10- to 15-year-old students in comprehensive schools was carried out in four European countries. The study applied a three-stage narrative interview strategy that asked teachers to share cases from their experience that implied paradoxes in their professional work. Based on this study, three umbrella categories of paradoxes were identified: paradoxes on curriculum negotiation and co-negotiation with students, free action in a regulated environment, and the double identity of music teachers. The study results offered insights applicable to music teacher education which can be summarized as a proposal to expose prospective music teachers to the paradoxes in their future profession and to discuss strategies that might help them manage these paradoxes.

The purpose of this study was to explore female and feminine-presenting band directors' experiences with gender microaggressions in their work. Data consisted of survey responses (N = 974) from current, former, and aspiring band directors living and/or teaching in the United States. The most frequently experienced types of gender microaggressions were second-class citizenship, restrictive gender roles, and environmental microaggressions. Younger individuals, college instructors, and those in the South tended to experience certain microaggression types more frequently than did other directors. Open-ended descriptions indicated a variety of common experiences within each of the nine types of gender microaggression, the most frequent of which was being called a demeaning name (e.g., sweetie, honey, and young lady). The most stressful/bothersome types were second-class citizenship, assumptions of inferiority, and restrictive gender roles, and correlations between frequency and stressfulness were strongest for leaving gender at the door, denial of individual sexism, and denial of the reality of sexism. Implications include the need to develop awareness of, combat, and prevent gender microaggressions in the secondary band profession and to provide opportunities for teachers of all genders to be recognized and valued for their work.

The purpose of this study was to describe music teacher professional development (PD) in the United States and to chart potential differences between the experiences of music teachers, other arts teachers (visual art, theater, dance), and teachers in low-stakes (natural and social sciences) and high-stakes (math, English language arts) academic disciplines. Using data from the 2017-2018 National Teacher and Principal Survey, I evaluated PD practices, perceptions, and policies against six consensus criteria for effective PD: content specificity, social interaction, sustained duration, relevance, agency, and policy support. Findings showed music teacher participation in content-specific and socially interactive PD was robust and that the vast majority of music teachers described their PD as relevant. Cross-comparisons revealed discipline associations as to some criteria (social interaction, relevance, agency) but not others (content specificity, sustained duration, policy support). Although music teachers achieved parity or were advantaged in some areas (e.g., access to content-specific PD), they consistently reported less access to socially interactive PD, spent less overall time in PD, and were considerably less likely to exercise agency in support of their PD endeavors. Music teachers--along with their art, theater, and dance colleagues--generally, although not overwhelmingly, operated on less favorable PD terrain in 2017-2018.

To investigate how music educators engage their students with Hip-Hop, we adopted a "research remix" approach, combining elements of case study and constructivist grounded theory. This approach allowed us to privilege Hip-Hop culture and to construct new understandings about Hip-Hop teaching and learning. Six elementary and middle school music teachers implemented Hip-Hop-focused instruction in their classrooms while also attending professional development workshops. Data included videos of classroom instruction, participant interviews, and videos of the workshops with co-facilitation from Hip-Hop artists and the researchers. Educators encountered tensions and challenges related to a perceived Hip-Hop "realness" and a lack of musical and pedagogical skills. To address these challenges, participants remixed their approaches by blending elements of Hip-Hop music and culture with their established teaching strategies. Teachers' dispositions and feedback from students and colleagues engendered critical reflections about their positionalities in relation to Hip-Hop. We constructed a visual model of a DJ as a metaphor to describe participants' approaches to remixing their teaching with Hip-Hop within their contexts. Implications include a need for increased emphasis on Hip-Hop in U.S. music teacher education programs and institutional pathways for Hip-Hop musicians to become music educators.

At the 2020 American String Teachers Association (ASTA) Conference held in Orlando Florida, an attendee of the Wellness Committee Listening Session recommended that a study be conducted to determine the prevalence and awareness of mental health concerns among students and teachers within the organization. Members agreed that there is more needed to be understood so that ASTA could provide professional development webinars, resources, as well as local, state, and national conference sessions. In response to this request and the clear need for more information, a survey was developed and deployed to the ASTA membership in the fall of 2020. Follow-up interviews with members who volunteered in response to an invitation on the survey were conducted in the spring and early summer of 2021. Teachers reported a high prevalence of student mental health issues prior to and during the pandemic and reported concerning levels of work overload, compassion fatigue/burnout, and mental health issues. Generational differences in mental health perceptions were noted, as were opportunities to provide targeted professional development and community-level services.

The purpose of this descriptive study was to examine school string teachers' beliefs about and practices of teaching nontraditional music courses. We surveyed middle and high school string teachers (N = 42) about what nontraditional music courses and ensembles (NMCEs) they currently offer and would like to offer to their students. In addition, we examined the educational rationales that string teachers have for offering NMCEs. Our findings indicated that the most frequently offered NMCEs were guitar class, pit orchestra, and music technology. Participants expressed strongest interest in adding fiddle club, popular music, and mariachi ensemble. The participants explained that NMCEs provide opportunities to teach content that closely may more reflect students' cultures and possibly attract a wider range of students. The participants used NMCEs to cultivate musical skills that are often overlooked in large-group setting, including improvisation, playing by ear, and collaborative arranging and composition.

This research, carried out between 2020 and 2021, involves an online questionnaire and individual interviews with undergraduate music students at universities and conservatoires in the UK, to examine student experiences of receiving and delivering instrumental and singing tuition. There is no regulation of instrumental teaching in the UK, and individuals are able to teach without formal training or qualification. Existing literature suggests that musicians often begin teaching while still in education, though there is limited research concerning the experience of this process. This research confirms that students are involved in delivering instrumental and singing lessons before and during their undergraduate studies, often beginning with peer learning initiatives in school or 'helping' family and friends. The study identifies positive perceptions of the role of teaching in portfolio careers in music and highlights the influence of both instrumental teachers and classroom music teachers in shaping understandings and providing guidance and opportunities for students.

This article provides a counterstory to damaging, dominant narratives concerning migrant experiences and border crossings. Through counter-storytelling, I share Rey's lived experiences as a transfronterizx (transborder) student who crossed the United States--Mexico border daily to attend school and eventually, participate in school music. The overarching question guiding the study was: What are a transfronterizx student's experiences navigating school and school music in the United States? Based on the findings, Rey encountered literal and metaphorical barriers as he pursued an education in the United States. In particular, navigating language, deficit-based teaching practices, surveillance, and policing were key in his narrative. Currently as a music educator, Rey draws from his personal transfronterizx background to inform his music teaching practices in a predominantly Latine school community. Considerations for working with migrant students and families are discussed in light of ongoing sociopolitical issues, including the need for more culturally and linguistically responsive practices.

Facilitating an inclusive pedagogy to close the gap that exists within the teaching of Indigenous Knowledge in Australia is a tall order for many teachers. This paper draws on responses to a national study and explores how music educators include Aboriginal and Torres Strait Islander music and culture into their practice. An online survey (December 2022-February 2023, N=109) informed the findings. Using thematic analysis, two themes (teaching challenges and opportunities, and bridging the gap) are discussed and key recommendations offered. Findings suggest that walking carefully towards bridging the gap is an opportunity for educational change in contemporary Australian classrooms.

Students who have experienced trauma may be especially likely to present challenging behaviors in the classroom. With an increase of trauma-affected students in music classrooms, it is important for music educators to consider classroom management (CM) practices that support trauma-affected students' healing without triggering students' trauma responses. In this review of literature, I discuss childhood trauma and trauma-informed positive education (TIPE), research-supported CM strategies in music education, and the ways in which these CM practices do or do not support the trauma-informed approach outlined by TIPE. In addition, I provide my own definition for trauma-informed CM in music education and suggest implications for the music education field.

Stereotypical assumptions associating high levels of giftedness and outstanding performance with maladaptive behavioral characteristics and personality traits (cf. disharmony stereotype) are rather prevalent in the school context as well as in the musical domain. Such preconceptions among teachers can influence student assessment and corresponding performance expectations, which might, in turn, impact future lesson planning. In an experiment using a controlled vignette approach, the current study, with N = 211 (prospective) German music school teachers, investigated how background information, combined with a manipulated music recording, affected (prospective) music school teachers' assessment of a fictive student's performance, behavioral characteristics, personality traits, and teachers' consequential lesson planning. Experimental variations included the fictive student's supposed level of giftedness, social interaction, age, and duration of instrumental lessons. Results indicated that music school teachers' preconceptions of students assumed to be musically gifted were a high level of intellectual and musical abilities with behavioral characteristics and personality traits rated at least equivalent to those of students assumed to have average giftedness. Teachers' lesson planning was not influenced by any of the manipulated background information. Taken together, the observed pattern of effects contradicts the disharmony stereotype but tends to align more with the harmony stereotype as music school teachers' prevailing preconceptions about students supposed to be musically gifted.

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.

This study aims to carry out a global evaluation of 13 Music Education Bachelor Degrees from Colombia, academic programs focused on the higher training of music teachers in this country, and to establish the training guidelines received by the music education professors who study them. The methodology used is empirical-analytical and descriptive-type and makes use of content analysis techniques that NVivo software provide. In addition, mixed and contextual analyses have been combined regarding specific keywords, such as music, pedagogy, and teachers. The instrument applied was a matrix with content validity completed by an international group of nine evaluators. This matrix showed a structure made up of five categories: General description of the program; Curricular characterization; Curriculum structure; Guiding principles of the curriculum; Curriculum management. The results indicate that there are divergences in the approach of the programs at the training of music educators. It is concluded that the differences between these programmes lie mainly in their formative emphasis, music or pedagogy, in a context in which the instructive approaches of higher education in music education have not yet resolved the divergences and the necessary balance between the pedagogy or artistic training.

COVID-19 containment measures brought many changes in our lives and forced teachers all around the world to adopt various new practices. Given its specific education requirements and numerous school boards, the province of Quebec, Canada, was chosen to study the effects of the pandemic on music teaching in schools in the spring and fall of 2020. An electronic survey was distributed, to which 517 elementary and high school music teachers responded. Teachers reported on the transformation of teaching modes from an exclusively in-person practice to an online or bimodal approach. Continuation and interruption of music programs varied greatly from school to school and, for those who were allowed musical activities, different protective health measures were implemented. Teachers working with large ensembles (e.g. band and orchestra) experienced more interruptions in their music programs. Teachers also reported how their planning was affected by the new modes of instruction, but no matter which modes were used, most of them experienced less motivation for teaching during the spring of 2020. In addition, they perceived that it was more motivating for students to receive an education in person. Finally, positive outcomes of the pandemic on education included the development of new skills in the use of digital resources and online teaching, as well as a renewed sense of solidarity between teachers.

Feedback is an important component of learning, and is an essential skill to develop in teacher education. However, research on feedback in music teaching and learning has not yet explored the process of learning to give feedback in music teaching settings. Therefore, the purpose of this study was to explore the experiences of preservice music teachers learning to give feedback in instrumental music contexts. Participants (N = 11) were enrolled in a woodwind methods course designed for K-12 group music teaching settings in the United States, in which they learned techniques for teaching and performing woodwind instruments, and extensive class time was used to develop skills in providing feedback on performance. Using interviews, researcher journals, student reflections, and observations of feedback activities, this research explored how students make sense of their experiences in learning to give and receive appropriate educational feedback. Findings included enriched understanding of feedback, the importance of rapport in the feedback process, the importance of expertise and issues of trust, and changes in preservice teacher's perceptions of effective feedback over time. We suggest that deliberate, scaffolded, and prolonged development of feedback skills helps preservice teachers to develop confidence and competency in the art of feedback.

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.

This study aims to determine preservice music teachers' self-esteem and happiness levels and compare them with other departments. The study group comprised 242 students from Gazi University Gazi Faculty of Education. The Two-Dimensional Self-Esteem Scale and The Oxford Happiness Questionnaire Short Form were used as data collection tools. The method of the study conducted with a quantitative approach was a survey. According to the research data, music education students' happiness and self-competence levels are good, while self-liking levels are moderate. Self-esteem scores do not differ according to grade and gender variables. The contentment levels of music education students showed a substantial difference, favoring females. Looking at the faculty of education in general, all departments are at a moderate level in the self-liking aspect, and all are at a good level in the self-competence aspect. In happiness scores, it was determined that Music and Turkish-Social Sciences students had good scores, while Mathematics-Science group students had average scores at medium level. It was determined that music education pupils had higher averages in all aspects. As the outcome of the comparison analysis, it was determined that the happiness levels of Music Education students were significantly higher than Mathematics-Science Education students.

Fuller and Bown (1975) postulated that novice teachers move through three hierarchical stages of development: concerns about self, subject matter, and finally concerns about student impact. Killian, et al. (2013) found that novice teachers when asked to list their concerns, most frequently listed self concerns and seldom listed student impact concerns. Contrastingly, when Campbell & Thompson (2007) asked teachers to rate concerns given a prepared list, novice teachers rated student impact concerns much more highly. We postulated that the conflicting results were caused by differences in the dependent measures and designed this study to ask the same respondents to list concerns and to rate prepared statements. Preservice music teachers from the same institution (N = 43) completed both a free response dependent measure and rated the Campbell & Thompson prepared statements. We further divided the pool into experienced teachers (those completing student teaching n = 20) and inexperienced teachers (those beginning student teaching n = 23) to explore the effect of teaching experience on the two measures. Results concurred with previous research with some notable exceptions. Preservice teachers overwhelmingly mentioned self on free-response measures and more often mentioned students and subject matter on rating measures. Experienced student teachers responded differently than those who had not experienced student teaching. Results are discussed in terms of future research using multiple dependent measures when evaluating the complex task of the growth of music educators.

As a result of seeing 100% of the student population, elementary music teachers host more students with disabilities than a general classroom teacher would in his or her class. Depending on the severity of students' disabilities, some require general music lesson alterations. To create the least restrictive environment for students with exceptionalities, teachers must adapt, accommodate, or modify materials, space usage, time spent instructing, and instruction modality. According to current literature, 85% of music teachers (general, band, choir, and strings) adapt goals and objectives for students with disabilities; however, only 9% of surveyed teachers felt competent in their skills to do so. This exploratory study aimed to survey regional elementary music teachers to discover their knowledge of adaptive materials, the likelihood and frequency of using them in their classrooms, what disabilities were prevalent in their classes, and if activities were adjusted.

Education is one of the most damaged areas due to the corona virus, which has taken the whole world under its influence in a short time. As it is known, in March 2020, because of the COVID-19 pandemic in our country, the distance education started at all levels of education. Dokuz Eylul University carried out this process through a distance education platform created within the university. Department of Music Education undergraduate curriculum includes many practical courses as well as theoretical courses. For this reason, it is thought to be important for the students of the Department of Music Education to evaluate the distance education process, especially for the practice-based music education content knowledge courses. From this point of view, in this study, it is aimed to determine the opinions and suggestions of Dokuz Eylul University Department of Music Education undergraduate students, to evaluate the content knowledge courses conducted through distance education during the COVID-19 pandemic process and to shed light on the distance education applications that may be made from now on. The data of the research was collected by the focus group interview technique. Content analysis were applied for the data collected from the interviews and the findings were revealed. Research results were presented within the framework of suggestions regarding the distance education process of the students, the use of the distance education platform, the materials, methods and techniques used in the courses, measurement and evaluation in distance education, the contribution of the distance education process to their professional development, hybrid education or lessons to be planned with the distance education again.

The COVID-19 pandemic required choral music educators to abruptly shift their curriculums, expectations, and perspectives to effectively deliver content and meet their student's educational and emotional needs during this unprecedented time in education. This qualitative study highlights the voices of high school choral music educators to gain insight into the challenges they were facing and adjustments they were making one year into the COVID-19 pandemic. Participants also recognized some unexpected benefits of teaching choral music during the pandemic. By understanding the challenges of teaching during the pandemic and investigating the innovations in choral music education, educators can better prepare for post-pandemic instruction.

This article uses qualitative research and interview methods with the objective to study the development and transmission of Xinyang Folk songs in Henan province, China. The area was selected in Henan city, China. The field work method is mainly used for collecting data. together with the information from the document. Xinyang folk songs have evolved chronologically depending on social changes, the Xinyang folk songs were approved by the State Council to be included in the national intangible cultural heritage list, the Xinyang municipal government began to pay attention to the inheritance and protection of Xinyang folk songs. The method to transmission of Xinyang folk song are: (1) Establish the original ecological folk village and cultivate the living space of folk songs (2) Use new online media to expand the influence of folk songs and (3) Establish intangible cultural heritage training courses to train successor of Xinyang folk songs. [The publication year (2022) shown on the PDF is incorrect. The correct publication year is 2023.]

Music students often encouter problems in reading sheet music, because of the complexity of Traditional Music Notation (TMN). Klavar is an alternative music notation system that is simple, intuitive, and easy to learn. Thousands of compositions from many composers are available in Klavar. In its original form, Klavar can be considered as tablature for keyboard instruments. The present paper compares advantages and disadvantages of Klavar and TMN. Subsequently, the author proposes an innovative extention of the Klavar music notation, such that enharmonic notes can be discriminated, and harmonic and melodic lines can be identified. The resulting Klavar20 notation is complete, since it contains all the composer's information and is therefore useful for all instruments. Further, it is comprehensible--since the score is easy to read--and compatible with all music already published in Klavar. Music educators should familiarize themselves with Klavar20 and stimulate teaching of this notation to students who might otherwise stop taking music lessons.

This paper revisits two teacher-education contexts which we independently researched. Both contexts invested in teacher-professional transformation, presenting unique puzzles in our respective data analyses. Bringing together Bakhtinian dialogic theory and Natural Inclusionality (Rayner, 2017), we return to these puzzles in a reflective dialogue. The paper unpacks two emergent themes. The first theme details our sense-making of the dialogic-dialectic-dialogic flow as part of professional development, and the second theme captures our deliberations about the energy-filled spaces of the in-between that form part of teacher development in our contexts. The paper discusses key insights about the nature of teacher-professional transformation and opportunities for mutual enrichment: insights that would not be available to us in our independent analyses. Given the non-conclusive nature of Bakhtinian dialogue, we offer no closure and avoid definitive conclusions that enforce or imply the assimilation and homogeneity of perspectives. Instead, we bring a polyphony of voices -- our philosophies, contexts, professional orientations, and empirical puzzles -- into a receptive-responsive relationship. We believe that the emerging dialogic problematisation has significant implications for teacher development as well as for ongoing theorisations of education. It responds to the pressing need to rethink the crucial relationship between educational theory and practice.

Soft skills enable the individual to successfully face the problems and challenges of a complex society in flux and under constant uncertainty. Music, in its different forms of expression, is here introduced as an ideal tool for the development of intrapersonal and action skills such as adaptability, optimism and proactivity. In this paper we analyse a case study regarding a project carried out by and for future teachers. Our data collection methods included questionnaires, observations, student productions and interviews. The results reveal that music can be a mediating element for the development of soft skills. Specifically, it has been observed that music can help the individual to face and effectively resolve changing and novel situations that require self-efficacy, self-confidence and social support. Music can also improve the physical and socio-emotional well-being of individuals as well as helping them successfully face adversity.

The aim of this study is to reveal the applications for the tools, methods, and strategies used to provide motivation in online instrument education in line with the opinions of instrument educators. In the study, interview, observation, and literature review, which are among the qualitative research methods, were used. Within the scope of the research, 41 teachers who provided online instrument training were interviewed, and 10-hour lesson observations were made. In the content analysis based on the ARCS model, it was observed that teachers used technological tools and applications to provide motivation in their lessons, included games, and planned their lessons according to age groups and individual differences of students in online instrument education. To provide motivation in the context of the ARCS model, it was seen that they applied the most to establish interest and the least to the satisfaction dimension. Based on this research, it has been proposed to use methods and strategies that motivate students in online courses and to develop online pedagogical approaches and technological course programs.

The majority of the pieces that make up the structures of the piano are wooden products. Large piano brands provide resources for the materials. They use various forest products or they create their own forests. Respecting life, biodiversity together with protecting nature and our world are important elements for sustainable environmental awareness. The sustainable environmental awareness is developing by ensuring that current needs are met and transferred to future generations with controlled consumption without destroying natural resources. In this study, it was aimed to examine the knowledge levels of the piano educators regarding the sustainable environmental studies of the piano producer Steinway & Sons brand, and also the production of the Steinway & Sons brand with sustainable environmental awareness. The research is limited to the Steinway & Sons brand. The lecturers in Turkey constitute the scope of the study and the ones who are conveniently reached make up the participants of the study. Qualitative research methods are used in the study. The data are obtained by document review method, content analysis and questionnaire. The results showed that; majority of the lecturers do not have any knowledge about the dimensions of sustainability in piano production, such as energy use, material use, recycling and responsible forestry.