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This practitioner research study examined the potential of arts education to support students' growth towards global citizenship including awareness, care, and understanding of--as well as active and responsible engagement in--current global challenges and social issues. We utilized research material generated during an interdisciplinary arts pedagogy course offered in subject teacher education at the University of the Arts Helsinki and Aalto University (Finland). During the course, students created teaching sessions in peer groups in which they explored pedagogical methods to enhance global citizenship through interdisciplinary arts education participation. In the study, we identified themes addressed in the teaching sessions: "Renegotiating (cultural) identity," "Facing otherness," "Experiencing empathy," "Coping with power and inequality," "Awakening to ecological responsibility," and "Engaging in critical and reflective thinking." Furthermore, we examined how arts education resonated with the aims of global education and discussed the many ways that arts education could support the cultivation of responsiveness and ethical awareness to advance transformative global citizenship.

This article draws on a classroom project to explore the complexities of collaborative teaching within the music classroom, where a professional team collaborated to facilitate digital music-making at a lower secondary school in Norway during a student teacher practicum placement. The collaborative team, including in-service and pre-service teachers, researchers, and a professional musician, facilitated a composing project by means of the digital audio workstation (DAW) "Soundtrap." The purpose was to shed light on the complexity and emergence of the collaborative music project; how material, structural, and educational conditions impacted the process; and the pre-service music teachers' ways of handling a complex situation. The study was theoretically guided by a socio-material perspective, more specifically by complexity theory, and an abductive analysis was performed. In keeping with the nonlinearity and complex causality of socio-materialism and complexity theory, the researchers created three reflexive viewpoints: emergence, enabling constraints, and entanglements. The results show that technological and technical issues permeated the classroom work, making it difficult to separate social and material aspects of the project. Awareness of the entanglement of social, institutional, historical, and material dimensions of education thus can provide a useful framework for emerging music teachers' professional development. In this way, our findings support the claim that music teacher education should aim at helping pre-service teachers prepare for encounters with complex and versatile educational situations.

Although music education scholars have increasingly advised teachers to take heed of values, principles, and strategies of musical practices outside of school, very little has been written in music education regarding the ideological underpinnings of musical practices in these contexts. This article argues that musical practices outside of school do not necessarily provide ideal models to be directly applied in the music classroom, but need to be critically examined and transformed to better align with global imperatives such as inclusiveness. In addressing the imbalance between "inauthentic" learning in school and "authentic" learning outside of school, this article shows how working toward the global ideal of gender inclusion may require radical activism and a cosmopolitan approach countering the right of an ethnic group to practice and preserve their own distinctive culture. The life story of a Newar musician from the Kathmandu Valley is used to illustrate this argument by demonstrating what it takes for a "culture-bearer" to initiate radical processes of social change and transformation. In this qualitative narrative case study, we asked what kind of context-specific, socio-cultural negotiation was required to overcome the challenges the musician faced in including girls and women in musical learning in a Newar community.

The four perspectives in this paper were first presented as an interactive research/workshop symposium at RIME 9. The purpose of the symposium was to connect new media scholar Henry Jenkins's theory of 'participatory culture' (1992, 2006, 2009) to possible practices of 'participatory culture' in diverse music teaching and learning contexts. We ask: If participatory culture exists in music learning contexts--what is it? What are its dimensions? What does participatory culture look like and mean in other music cultures and different contexts/'places' (e.g. online, offline, and convergent settings)? Who can and who can't participate? How might this idea cause us to re-think some of our practices?

This article draws on a classroom project to explore the complexities of collaborative teaching within the music classroom, where a professional team collaborated to facilitate digital music-making at a lower secondary school in Norway during a student teacher practicum placement. The collaborative team, including in-service and pre-service teachers, researchers, and a professional musician, facilitated a composing project by means of the digital audio workstation (DAW) Soundtrap. The purpose was to shed light on the complexity and emergence of the collaborative music project; how material, structural, and educational conditions impacted the process; and the pre-service music teachers' ways of handling a complex situation. The study was theoretically guided by a socio-material perspective, more specifically by complexity theory, and an abductive analysis was performed. In keeping with the nonlinearity and complex causality of socio-materialism and complexity theory, the researchers created three reflexive viewpoints: emergence, enabling constraints, and entanglements. The results show that technological and technical issues permeated the classroom work, making it difficult to separate social and material aspects of the project. Awareness of the entanglement of social, institutional, historical, and material dimensions of education thus can provide a useful framework for emerging music teachers' professional development. In this way, our findings support the claim that music teacher education should aim at helping pre-service teachers prepare for encounters with complex and versatile educational situations. [ABSTRACT FROM AUTHOR]

Assessment in music is of considerable importance in the context of higher music education, with major projects focusing on assessment principles and practices in a number of locations, including the European community and Australia. This instrumental case study explores assessment practices in two higher music education contexts, namely within folk music education in Finland and popular music education in Australia. While each of these two instances have significant individual characteristics, they share a focus on understanding assessment as learning and the development of a professional identity through the active participation of the student community in the assessment processes. Drawing on current theories of communities of practice, the narratives of the leaders describing the practices in each context are analysed to draw attention to the intended learning value derived through the participatory assessment practices.

This qualitative instrumental case study explores Finnish student music teachers' experiences of teaching and learning as participants in an intercultural project in Cambodia. The Multicultural Music University project aimed at increasing master's level music education students' intercultural competencies by providing experiences of teaching and being taught abroad in traditional music and dance programs run by two Cambodian NGOs. The article suggests that beside the importance of learning new music and dance traditions, the student music teachers regarded the learning experiences gained through peer-teaching in an unfamiliar context as significant, as these experiences provoked them to step out from their pedagogical comfort zones and to engage in a deep reflection on the nature of teaching and the purpose of music education. Rather than perceiving their teaching as individual achievements the student teachers' reflections proceeded towards an increasing emphasis put on the quality of joint interaction and the benefits gained from having to spontaneously create the structure of lessons in fast-changing situations. Based on the analysis of individual and focus group interviews and other research data, we discuss the concept of teaching as improvisation and its implications for teacher education.

This instrumental case study aims to explore meanings and values in digital musical culture, and to reflect on them in relation to wider conceptualizations of musicianship in the field of music education. The study employs a narrative-biographical approach in analyzing the music-related life stories of a group of practitioners at a London-based music college, whose music-making practices utilize mainly or only digital technologies (they are hence referred to as "digital musicians"). The results suggest that those values emphasizing aspects of musical versatility and flexibility, as well as mobility between various musical communities of practice, are specifically connected with digital musicianship. In this study, the values relate to "musical cosmopolitanism", and are believed to furnish possibilities for application to pedagogical/educational practices as well as providing a way forward for 21st century professional musicians.

In this article the author's examine, through the cases of Finland and Cambodia, expressions of constructive patriotism in educational policy, curriculum documents and music teacher actions and reflections. This study is part of a broader cross-cultural exchange project: "Multicultural Arts University", between researchers and music education students from the Sibelius Academy, University of the Arts Helsinki, Finland, and music and dance programs run by two Non-Governmental Organizations (NGOs) in Cambodia. As a multiple case study, focusing on Finland and Cambodia, the study presents each nation as a "unique life", very different contexts providing different perspectives and insights into patriotic expressions in music education policies and practices. These two cases have been selected not to maximise the generalizability by "sampling of attributes," but to maximise "opportunities to learn" (Stake 1995, 6), to understand an issue or problem using [these two] case[s] as a specific illustration. This article explores both "the common characteristics" (Stake 2006, ix) as well as "situational uniqueness" (x) of the cases to the extent they illustrate the phenomenon under study, as the author's ask the questions: How are patriotic sentiments expressed through music education policies and practices in Finland and Cambodia? In what ways can patriotic sentiments be seen to reflect the changing notions of national identity, in the context of globalization?

This qualitative instrumental case study examines collaborative composing in the "operabyyou.com" online music community from the perspective of learning by utilising the concept of a "community of practice" as a heuristic frame. The article suggests that although informal music practices offer important opportunities for people with varied backgrounds to participate in the production of art works, and may thus represent and illustrate important aspects of the community life of the society, they do not necessarily provide ideal models for the music classroom. Based on the analysis of the "operabyyou.com" community, we discuss conditions for collaborative composing when aiming to design educational settings that support the students' construction of identity and ownership of musical meaning.

Societal and technological progresses have created a multitude of new ways for people to engage with music, and as a result music can nowadays be learned from an ever-expanding variety of sources. In this article, we engage in a theoretical exploration of the underpinning societal forces that have enabled this expansion, as well as its significance for the development of musical identity and knowledge. The exploration proceeds through sociological theories of modernity and theories of sociocultural learning. Examples from a recent ethnographic study of the Finnish online music community "Mikseri" provide insight into how musical identities can be constructed and maintained in web-based reality, as well as how online music sites may function as communities of practice where the members, through sharing and discussing their own music, develop music-related knowledge. A discussion about the implications of the current media-musical situation for music education practice and research is provided. (Contains 7 notes.)

This practitioner research study examined the potential of arts education to support students' growth towards global citizenship including awareness, care, and understanding of--as well as active and responsible engagement in--current global challenges and social issues. We utilized research material generated during an interdisciplinary arts pedagogy course offered in subject teacher education at the University of the Arts Helsinki and Aalto University (Finland). During the course, students created teaching sessions in peer groups in which they explored pedagogical methods to enhance global citizenship through interdisciplinary arts education participation. In the study, we identified themes addressed in the teaching sessions: Renegotiating (cultural) identity, Facing otherness, Experiencing empathy, Coping with power and inequality, Awakening to ecological responsibility, and Engaging in critical and reflective thinking. Furthermore, we examined how arts education resonated with the aims of global education and discussed the many ways that arts education could support the cultivation of responsiveness and ethical awareness to advance transformative global citizenship. [ABSTRACT FROM AUTHOR]

Music education technology continues to open significant possibilities for composing, improvisation and other creative music-making activities in school classrooms. However, these possibilities are not always fully realized in the everyday life of the school, often due to limitations in teachers' digital competencies. This article aims to examine the conditions necessary to facilitate continuing education that best supports teachers' professional development in digital technology-supported classroom composition. By analysing the data material collected during a development project Future Songwriting (2018–20), this case study examines how professional development in music education technology was enhanced or constrained by the project. Future Songwriting was a European cooperation project, co-funded by the European Commission under the Creative Europe programme along with seven consortium partners and designed to provide teachers in three European countries (Finland, France and Germany) with hands-on training to upgrade their skills and knowledge related to the use of music education technology. This article focuses on the activities that took place in Finland (five schools) and Germany (five schools) from March 2019 to October 2020. Although many elements in the project promoted the participating teachers' skill development and knowledge acquisition, opportunities for the teachers to engage in critical reflection to develop capacity in learning to learn in digital environments were limited. The article discusses the possibilities of continuing education projects for enhancing teachers' digital identities. [ABSTRACT FROM AUTHOR]

The four perspectives in this paper were first presented as an interactive research/workshop symposium at RIME 9. The purpose of the symposium was to connect new media scholar Henry Jenkins’s theory of ‘participatory culture’ (1992, 2006, 2009) to possible practices of ‘participatory culture’ in diverse music teaching and learning contexts. We ask: If participatory culture exists in music learning contexts - what is it? What are its dimensions? What does participatory culture look like and mean in other music cultures and different contexts/‘places’ (e.g. online, offline, and convergent settings)? Who can and who can’t participate? How might this idea cause us to re-think some of our practices? [ABSTRACT FROM AUTHOR]

The article discusses the role of patriotism in music education. It discusses expressions of constructive patriotism in educational policy, curriculum documents and music teacher actions and reflections in Finland and Cambodia. It is noted that the article is part of a broader cross-cultural exchange project undertaken in both the nations.