ABSTRACT. The purpose of this study was to examine a breadth of research literature on neuroscience to provide ways that these findings influence our understanding of music teaching and learning (i.e., pedagogy). While psychologists and other researchers have completed examinations into what people do to become expert performers, neuroscientists have been studying the brain to understand what happens when people learn (Walter & Walter, 2015). Music-making is an extremely complex action that involves many different brain structures (Altenmüller and Schlaug 2015, pp. 237–238). Music processing functions are distributed throughout the brain. The conscious perception of auditory, visual and somatosensory inputs relies on primary and secondary regions in the cerebral cortex (Altenmüller and Schlaug 2015, p. 237), while most other parts of the brain are intricately involved in the automatic or unconscious facets of music-making. Motor maps increase during training, but eventually neurons get more efficient and fewer neurons are required to perform the task (Doidge, 2007). One needs the motor control and coordination to enable dexterity at playing an instrument; the emotional centers of the brain and the neo-cortex have to communicate well with each other to enable emotional exchange through music; one needs the capacity to be creative; and special structures for remembering music are required (Levitin 2006, p. 220). This presentation will share specific insights from neuroscience to guide how pedagogy can be more effective and responsive to the diverse needs of learners in music instruction. Findings from neuro-imaging research are organized under the topics such as techniques for studying the music in the brain, imaging music perception and cognition, imaging musical performance, and imaging the effects of music learning (Hodges, 2012). Brain-based learning, a comprehensive approach to instruction using research from neuroscience (McClellan, 2023), will be introduced to illustrate the rules of the brain for meaningful learning.

ABSTRACT. Previous research suggests that auditory training, tailored to the individual and delivered in an attentionally demanding but user-friendly format, could improve hearing for people with a Cochlear Implant (CI). Guided Audiomotor Exploration (GAME) is an innovative method of teaching piano based on current neuroscientific insights which makes it possible for hearing-impaired individuals with a CI to learn to play without first learning to read music. In a recent Random Controlled Trial, GAME was shown to enhance speech comprehension, indicating that transfer effects were taking place from the music to the language domain. Although GAME was designed for use in the regular teaching practice, the question arose to which degree teachers would be able to implement a method so different from those for which they were trained and if not, which measures should be taken to facilitate successful implementation. To answer this question a Participatory Action Research study was undertaken as part of a larger Educational Design Project together with six piano teachers, a critical friend and eleven CI-users. Teachers used GAME to teach a CI-user for 18 weeks. They participated in online meetings and were invited to keep a logbook and to email feedback to the researchers. An interview was conducted with each teacher prior to and following the series of lessons. Both authors kept a research journal. Qualitative data were analysed with thematic analysis. Findings suggested that piano teachers would benefit by having (1) extensive revision of the manual, (2) demonstration videos, (3) sample lesson plans, (4) workshops, (5) individual coaching and (6) online peer learning. Participating teachers found the combination of explanatory texts and demonstration videos particularly valuable considering the huge difference between GAME and traditional methods. Future research may explore implementation of GAME for pupils with normal hearing or dyslexia.

ABSTRACT. Cripistemology, a portmanteau of ‘crip’ and ‘epistemology’, is a term that describes knowledge produced via Crip/Disabled experience(s). A cripistemological approach to creative production or research focuses on how Crip/Disabled knowledge can shape and change the ways in which we conceive and enact our respective disciplines and fields. As a pedagogical model, cripistemology challenges how creative/interpretive spaces and strategies are reliant upon ableism by foregrounding critical engagement with notions of access, embodiment, and representation. This work is guided by principles such as interdependence, open access, access ecology, and Crip temporality.

To explore potential applications of cripistemologies in music, we highlight the work of musician/writer/artist JJJJJerome Ellis with whom we completed a year-long institutional collaboration. Ellis’s residency included the creation of a new musical score exploring intersections of blackness, disabled speech, and music. Ellis shared this work with our campus community via a public performance, engagement with students enrolled in a course on cripistemologies and music, and through the production of a short music video that incorporated audio descriptions—a method intended to provide access to visual experience for those with blindness/low vision—and creative sound description.

Our collaborative work with Ellis engendered critical questions that we pose in this presentation: (a) Who has access to studying music and/or enrolling in music degree programs in higher education? (b) What artistic and musical practices are valued and how do these values inform the hiring of faculty? (c) What would it mean to apply Crip-centric approaches to schools of music and music degree programs? In response to these questions, we explore the impact and implications of Ellis’s work on students, pedagogy, and interdisciplinary performance methods. We chart how Crip-centric musical approaches may shape schools of music in ways that broaden access for students and faculty and generate novel approaches to creative musical production.

ABSTRACT. Having been assigned to teach a new subject “History and music literature with elements of analysis” in English in the online general university courses to undergraduate students (majoring mainly in instrumental performance and vocal performance), I immediately considered the challenges of such a complex course from the perspective of music literacies. Such considerations are valid for several reasons: * wide programme content; as the name “History and music literature with elements of analysis” indicates, this subject—which was introduced into the tertiary level curriculum in the 2022–2023 academic year—combines the programme contents of three subjects that had been previously taught separately: “Music history”, “Music literature” and “Musical work analysis”; * period of time in which teaching is delivered; “History and music literature with elements of analysis” is a two-year course; * undergraduate student profile that implies culturally diverse environment; the subject is destined for non-native English speaking students, among whom two groups can be distinguished: the Erasmus students studying this subject for one or two semesters (from the Czech Republic, Slovakia, Turkey) and foreign students from Asia (China, Japan) pursuing their entire third-level education in Poland; * teaching strategies to adopt in view of the factors mentioned in the first three points; * the subject-centered curriculum design—being one of the major constraints—imposed by the fact that the same subject is conducted in Polish for Polish students and the English course ought to be compatible with the Polish one in terms of content and schedule (the allocation of time for each topic). The present paper is therefore the result of my reassessment of the subject “History and music literature with elements of analysis” from cultural perspectives as well as from the perspective of nurturing music literacies. My hybrid qualitative research combines narrative inquiry and action research in order to provide a comprehensive insight into the music literacy issue in a culturally diverse environment. In my research I adopt the new definitions of music literacy and music texts (Paul Broomhead) as well as incorporating aspects of the strands of culturally responsive research ethics (Maria Lahman). The collected data (my interviews with the students and their participation in classes, homework and exam results as well as my observation during classes) allow me to figure out some culturally-rooted behaviours and enable me to develop and elaborate on a type of curriculum design that favours students’ knowledge acquisition and critical thinking regardless of their cultural affiliation.

ABSTRACT. In today’s educational landscape, the digital age has ushered in a remarkable transformation in music education, particularly for our digital native students. These tech-savvy individuals have grown up in a world saturated with digital devices, internet connectivity, and an abundance of digital tools. This generation has unprecedented access to a variety of creative tools and resources that were previously unimaginable (Fick & Bulgren, 2022; Pendergast, 2021). In this presentation, I argue that, given the importance of digital technology, music educators have shared comprehensive strategies for integrating technology into lessons. However, notable inequities remain in using technology to teach culturally diverse musics. Consequently, music educators may not have adequate training, knowledge, or resources to effectively incorporate technology into music instruction that reflects cultural diversity.

To address these disparities, I integrated digital technologies into a music methods course centered on teaching culturally diverse musics. This study aims to explore 14 preservice music teachers’ experiences with technology, employing TPACK (Technological Pedagogical Content Knowledge) as the theoretical framework. During eight weeks, students learned various virtual non-Western instruments using techniques that honor the cultural context and traditions of the instruments. They also engaged in composition activities that incorporated culture-specific notation systems and created hybrid folk music combining prerecorded loops and newly created beats/melodies using music production software. Additionally, students accessed multimedia resources and virtual libraries to explore music from diverse cultures, overcoming geographic limitations. They also explored the interconnectedness of music and organized their research using Book Creator (an electronic book tool) or Canva (a web-based graphic design platform). Data was collected during Spring 2024 through reflections, lesson plans, group interviews, and individual interviews, with more data to be gathered in Fall 2024. These findings will contribute to the field by showcasing effective, research-based strategies for integrating digital technologies in teaching culturally diverse musics, ultimately enabling future music educators to foster equity and inclusivity in music curricula.

ABSTRACT. The Educative Evidence-Based Practice (EEBP) model, initially theorized by Fuller and furthered by Fuller & Humberstone, offers a counterpoint to neoliberal control of classroom music education. The model emphasizes teacher autonomy and a reflective approach, realigning evidence-based practice in education with the original medical model to prioritize teachers' contextual expertise, student needs, research evidence, and the dynamics of the classroom setting.

In response to feedback from over 80 educators and researchers at a recent international symposium, this paper presents possible directions for further development of the theory and an updated EEBP model, shaped through dialogic exchanges that deepened the model's theoretical foundations and potential application across varied educational and cultural contexts. Emerging provocations and themes that arose from the symposium’s discussions include the importance of cultural safety, the role of student input, and the need for accessible resources that guide teachers in context-sensitive implementation.

This paper closes by inviting further dialogic engagement and critical examination as the model continues to evolve through research and practice.

ABSTRACT. Intellectual skill is an important concept and methodology in the field of educational psychology. The ultimate internalization of intellectual skill is closely linked to “prototypes,” as the structure of activities at each stage must be guided by “prototypes” to complete cognitive activities. This paper emphasizes that “prototypes” are examples that help develop intellectual activities and form imagery, enabling individuals to generate concepts that guide specific actions through understanding and reflection. This process facilitates the internalization of information and completion of cognitive activities. However, research and application of intellectual skills in music education, especially in piano instruction, are inadequate, often lacking a practical teaching framework. This gap is primarily due to inaccuracies in identifying and selecting effective “prototypes.” Consequently, this paper proposes the concept of “audiovisual prototypes” tailored to the characteristics of piano teaching, using the Chinese pianist Yin Chengzong’s performance of “Autumn Moon on a Calm Lake” as a “prototype” to present the establishment process of “audiovisual prototypes.” This study employed Kinovea 2023.1.2 and Vmus.net 2.0 softwares for coding and analysis. The results indicate that the movements of the pianist’s wrists and elbows during performance are consistent with the resulting sound effects, and the sound effects presented in different sections of the piece align closely with the requirements of its formal structure. Therefore, in specific piano instruction, teachers should not only require students to judge sound changes through auditory perception but also guide them to control sound effects through muscular strength distribution and wrist movements. Based on this, this paper proposes a teaching framework for intellectual skills “audiovisual prototypes” centered on the students: (a) training “attention” using high school students’ psychological characteristics; (b) developing specialized training for “perception”; (c) conducting “verbal” training based on students’ thinking; and (d) implementing “awareness” training according to the characteristics of intellectual skills.

ABSTRACT. Pianistic approach, Fluid Movement, legato technique, Milkov-method, ... All these terms show a general aspiration and trend among mallet percussion soloists and methodology worldwide: we are witnessing a paradigm shift. This paradigm shift breaks through the glass ceiling in marimba literature, giving birth to new works, building a new virtuoso level, and gaining access to a repertoire of music history that has not been available to a percussionist as a performer. As such, it affects the attitude of percussion pedagogy. It is a change in mechanics and techniques: It provides solutions for polyphonic melody lines and separate hands. It goes beyond split rhythm, further refines phrasing possibilities, and provides new modes of expression. Furthermore, it opens the eras of music history and literature unavailable for percussionists as solo performances. This innovation suggests questions: What periods can be identified in the development of the technique? How has players’ attitude changed? How can it be manifested in pedagogy? This first part of the presentation briefly summarizes the historical overview of this process, so we can discover that the development of keyboard percussion instruments can be traced along an instrumental aesthetic line, in addition to its acoustic and technique aspects. In the second part, we set an overview of the questions, regarding its pedagogic possibilities. This research aims a niche in music instrumental and artistic research, introducing movement patterns and technique generations based on previous instrumental research papers. We ground our study on the works of the pioneers of the new technique (Theodor Milkov, Arjan Jongsma, Alex Jacobowitz, etc), also implementing the results of Rolf Inge Godoy about the connections of music, instrumental practice, and movement.

ABSTRACT. Collegiate music majors in degrees outside of music education often have limited or no access to training specific to music teaching in studio settings (i.e. applied lessons, one-on-one instruction). During their degree studies, music majors develop expertise in the repertoire, technique, mechanics, and performance of their primary instrument, yet many do not study teaching or receive training in teaching despite a reality that music careers involve teaching. Therefore, many music graduates begin teaching studio lessons—whether in an academic, community, or independent setting—with little awareness of effective strategies for learning music. Many of these first lessons may even be with children and beginners, and due to the lack of training, teachers will often rely on trial-and-error strategies based on their own recent experience as advanced learners. On the other hand, some colleges and universities offer tailored pedagogy coursework; for example, piano pedagogy courses are a common feature of degrees in the US, offering piano majors with academic and laboratory experiences in piano teaching.

This presentation provides a framework for the training of studio music instructors, drawn from the experience of teaching piano pedagogy to undergraduate students in the US. Two crucial skills to develop in future studio teachers are communication and sequencing instruction. Communication skills include language used for directions, objectives, and feedback, and in basic behavior management, such as strategies for time use, focus, and redirecting unwanted behaviors. Secondarily, the ability to sequence instruction can be explored through sound-before-sight methodology and effective use of sequential patterns (a loop of objective, performance, and feedback). All of these approaches have an established basis in music education research and teaching practice. While this is drawn from the author’s undergraduate piano pedagogy courses, the framework presented can be used in a wide array of courses and training settings for music studio teachers, regardless of instrument.

ABSTRACT. Pedagogical creativity has been associated with responsive, flexible and improvisatory teaching (Abramo & Reynolds, 2015) and a way to navigate ambiguity (Bylica & Bauman, 2022). It contributes to professional well-being (Stoloff & Goyette, 2022), just as creativity is associated with psychological well-being (Androshchuk et al., 2020). We used ‘good enough’ analogous to Swanwick’s (2008) “good enough music teacher” to suggest that creative pedagogical explorations need not aim for perfection so that risk-taking attitudes and growth mindsets could encourage creative explorations (Amabile, 2017). This paper examines critical inquiry projects by Singapore music teachers in mainstream schools at the primary and secondary levels from 2015 to 2024 to study: a) how pedagogical approaches are integrated through pedagogical creativity; and b) what the considerations are. The findings from these pedagogical creativities aim to expand collective pedagogical knowledge; celebrate the agentic and reflective classroom work; and sustain our teaching community's passion for teaching. A meta-synthesis (Thorne et al., 2004) is conducted. From 131 articles in 10 publications published between 2016 and 2024, 61 articles were selected where we could infer a combination of pedagogical approaches. We started with metasummaries by coding the synthesis of pedagogical approaches in each article for their underlying considerations. The thematic summaries revealed that the considerations guiding pedagogical integrations tend toward student empowerment, student engagement, student experience, supporting student learning, authentic learning, and the flow of musical processes. For each thematic summary, we compared and contrasted differing perspectives and practices, with assumptions and theoretical underpinnings from literature readings. Findings include differing perceptions of authentic learning and insights into facilitating music processes that extend beyond listening, composing and performing activities. We then reflected on the tacit knowledge in these pedagogical fusions and how they could be made explicit to promote creativities that can contribute to teachers’ professional well-being.

ABSTRACT. This study explores the role of classroom music teachers in English Secondary Schools and their identity, and how far these impact on the nature of the student experience as part of their music education within schools. The author considers how far students (1) gain a range of musical experiences within their classroom lessons (not including musical instrument lessons or learning outside of school) - what is termed a series of 'taster sessions' in a variety of musical aspects; or (2) how far they develop musicianship and grow as musicians. Research carried out would suggest that the former is more likely to be the case in school music and that this can be as a result of how music learning is perceived within the curriculum, how the role of the teacher is determined, and how the teachers' own identity as both musician and teacher plays a part. The study draws upon research into the biographies and identities of secondary school classroom music teachers in England (key stage 3, 11-14), how teachers perceive their role, and how far they are able to achieve their goals. The methodology -online survey and interviews, largely resulting in qualitative data analysed through an exploration of common themes - and theoretical framework, especially in relation to the teacher biography and identity, draws strongly on the concept of 'multiple identities'; focusing on the manner in which teacher and musician identities complement/conflict each other. This presentation reports on the first part of what will, potentially, become a multi-phase study. Findings would suggest that teachers in school tend to 'lose' their identity as musician and that, as their teacher identity develops, so the nature of their teaching and the way it is received by students changes, sometimes becoming more focused on musical experiences than developing young musicians.

ABSTRACT. Macao Special Administrative Religion (Macao S.A.R.) is an intercultural city in the world which is including Chinese, Macanese and other cultures. In the 2022 Program of International Student Assessment (PISA), Macao performance reached the 3rd place on science which is a great encouragement of Macao education. This research attempts to explore the role of the music teacher which embeds the music teacher’s career sustainability. What roles of the music teachers would be more highly reminded of in the context of digital transformation in Macao? The questions are as below: 1. Is leadership skill most important in the context of digitalization music instruction? 2. Is the morality approaching highly praised the effectiveness in the context of digitalization music instruction? This study is a questionnaire of Macao local music teachers (n=35) who have worked in Macao for 5 years or above. Data is taken a factor analysis via SPSS19.0. 3 random samples are taken for the semi-structured interview, and the qualitative analysis will be used. The predicted results of this research show a positive significant on the high-quality leadership skills. Moral guidance is one of the most expected to apply in the context of digitalization music instruction and it shows a positive significance. Additionally, the government’s financial support and enhancement of the application of Musical technology shows a positive significant. As the concept of integrated instruction grows up, music education can be more connected to the technical tools and applications. Educational Foundation and Financial support should be more concentrated to music education and the in-service and pre-service teacher leadership training. Meanwhile the high morality guiding and keeping upright is contained in the whole running context will help and protect the people‘s psychology healthily build and grow. The role of music teachers will take a new place in the music education world.

ABSTRACT. Since the inaugural RIME conference in 1999, Music Education has undergone a blossoming of theoretical underpinnings and practice. It has increasingly moved away from the language of “Aesthetic Education, and toward a practice-based, multicultural, multi-modal foundation. This has raised a plethora of issues for teacher educators. Those of us who were educated in the 1970’s and 1980’s have participated in this expansion and enriching of the field. But in the face of such breadth of offering, who decides which skills are developed, when and how in the education of prospective teachers. In this presentation I examine the themes and directions of research presented at RIME over the past 25 years, in conversation with the examination of my own ever-developing professional practice. The increase in narrative methodologies, self-study, equity and diversity studies and the ever-diversifying school and community programs that we are called to serve can lead to pedagogical paralysis or pedagogical creativity. Through the examination of the programs of the past 25 years of RIME, and my evolution from choir director to Indigenous advocate I will present an inquiry-based portrait of the multiple pathways of music education as we look to the future in a world of rich diversity with a frightening suggestion of STEM as a reduction of programs and nationalistic jingo. While the requirements of teacher education are more creative yet more demanding than ever, music, in all of its richness continues be the central force that requires we rise to the challenge to recompose our expectations, preparation and delivery.

ABSTRACT. Community music in the UK is often considered a form of activism due to its association with the community arts movements of the 1960s. However, in recent years, there has been a growing critique of the activist character of community musicians' practices within the UK, particularly due to their dependence on public funding and the institutional systems they had previously challenged. This presentation explores the implications of this reliance on public subsidy on the practices and values of community musicians and, consequently, for the potential activist nature of their work.

Employing a mixed methods approach that includes critical discourse analysis, policy review, and the examination of three music programmes in the UK, this study draws on interviews with 18 musicians and 25 participants to uncover the dynamics between community musicians, funders, and policymakers. It explores how this complex relationship influences community music practices and shapes perceptions of its activist nature. The findings reveal significant power imbalances within funding relationships, a shift away from grassroots methods in programme development and delivery, and the necessity for musicians to use buzzwords to secure financial support. The study raises important questions about the relevance and impact of social and instrumental policy agendas linked to community music activities, considering whether these agendas act as an asset or a hindrance to the values and ethos of community musicians.

Ultimately, it is crucial to assess the ramifications of these relationships on the field of community music, examining its values within the context of 21st-century UK society. Understanding whether community music has transformed into a governmental tool for social impact will empower musicians to advocate effectively for the sustainability of their field and its original mission or take steps to reclaim what has potentially been lost.

ABSTRACT. This presentation addresses the potential of intangible cultural heritage to catalyse social change and stimulate sustainable development through heritage activism work. In this presentation, I will utilise an ecological approach to heritage. It promotes the operationalisation of heritage and highlights the questions of what can be done through heritage, particularly concerning the burning questions of sustainability. Indeed, cultural heritage is not a single entity but a multi-dimensional ecosystem where heritage can be understood as a collective and dynamic endeavour involving ongoing conversations and interactions of various individuals—both human and non-human—within the context of the present and where these interactions shape and influence on the understandings of the possibilities of and for the future. As such, heritage should be considered in relation to human rights, climate change, development issues, poverty alleviation, and urban regeneration, among others.

In this presentation, I will illustrate how heritage activism can work towards sustainable futures by synthesising the results of two case studies conducted in Mauritius and Nepal. The case in Mauritius presents a non-formal education that draws their education from the local cultural heritage and harnesses the strengthened heritage ecology for sustainable development aims. The case in Nepal presents a visionary ensemble and first-generation professionals of the country who, through public pedagogy, have contributed to economic viability, cultural sustainability, social justice, peacebuilding and environmental sustainability in Nepal.

Through the findings of these case studies, the ecological perspective on heritage, heritage activism, and their contribution to sustainable development in and through music education are discussed.

ABSTRACT. While prior research has explored students’ perceptions of one-on-one applied music lessons and guest artist masterclasses, their experiences in recurring studio music masterclasses remain largely unexplored. In these classes (hereafter “masterclasses”), students are taught in a group setting by their applied instructors. By providing mock performance opportunities and public teaching, masterclasses complement one-on-one applied instruction. However, masterclasses also provide opportunities for collaborative learning and social connection within studios. Using Lave & Wenger’s theories of situated learning and communities of practice, this study uses student focus groups and non-participant masterclass observations to investigate students’ perceptions and experiences in masterclass settings. This study is part of a larger project also incorporating instructor questionnaires and semi-structured interviews.

Overall, student perceptions of masterclasses are positive, although some report negative experiences. Analysis of focus group data reveals two themes: (1) students accept challenges (performance anxiety, receiving public criticism) because they are contextualized within applied study and universally experienced within the closed studio environment; (2) students are sensitive to social relationships within their studios and modulate peer feedback accordingly. Observational themes are: (1) collaborative learning is a major factor, shaped both by the instructor and the peer group; (2) while instructors and peers both offer constructive feedback, student feedback is more personally affirming while instructor feedback is more growth-oriented. These results suggest masterclass environments are dynamic and variable - not just an extension of the private teaching studio - and that masterclass instructors may benefit from consideration of collaborative learning processes.

ABSTRACT. This study investigates the impact of a peer tutoring initiative designed to develop aural skills in violin and viola students. The project specifically focused on fostering active listening, inner-singing, and collaborative learning through a structured peer interaction framework. While peer tutoring has been explored in music education, few studies have examined highly structured approaches targeting aural skill development. This research addresses this gap by implementing a reciprocal peer-tutoring model that encourages students to engage in reflective and creative listening activities. The study employed a quasi-experimental design with five pairs of students participating in 14 structured sessions, each lasting 30 minutes. Data were collected through audiovisual recordings and analyzed using a custom-coded action framework designed to capture nuanced aspects of aural skill development. The findings revealed significant improvements in students' active listening and tonal recognition abilities, with notable gains in identifying tonal functions and intervals during performance. Activities such as intoned sight-reading and listening recognition emerged as particularly effective in enhancing aural learning. To ensure accurate assessment of performance, the study utilized an expert-validated rubric with high inter-rater reliability (95%) as measured by Cohen’s kappa. The results indicate that peer tutoring not only enhances individual aural skills but also promotes a collaborative learning environment that benefits both tutors and tutees. However, the research also highlights challenges in implementing and monitoring peer learning, such as ensuring consistent pair dynamics and maintaining engagement over time. This study contributes to music education by demonstrating the effectiveness of structured peer tutoring in cultivating essential aural skills. For music educators, these findings underscore the value of peer-led initiatives in instrumental instruction, offering a promising strategy to enrich teaching practices and deepen students’ musical understanding.

ABSTRACT. Introduction: In contemporary literature, based on today's scientific knowledge, the use of a more physiologically and function-oriented didactics and methodology instead of a pure sound orientation within voice pedagogy is required for a healthy voice development. Objectives: The aim of the study is to investigate to what extent functional orientation (FO) is currently used within the teaching of singing with adolescents and adults in individual voice lessons at Bavarian music schools. Another objective is to find out the extent of the variety of methods (MV) and whether there is a connection between FO and MV with participation in further education and training. Materials and Methods: For this cross-sectional study, 146 singing teachers from 182 of the 198 Bavarian music schools that belong to the Association of German Music Schools (VdM) and offering singing lessons, were surveyed in 2021. A digital questionnaire was developed and sent to the music schools after a pretest was conducted. Results: The results show that the level of FO and MV in subjects is in a mean range of the generated score. There is also a highly significant mean relationship between the participation of further education and FO as well as a significant between it and MV. However, 21.3 % of the sample stated that they only attended further training once every four years or never. The majority of singing pedagogues also teach different styles of music than they studied. Discussion: According to the results the importance of attending further education and training to support both FO and MV as well as knowledge for the musical style taught is underlined. The fact that more than a fifth of singing teachers never attend such events or maximum once every four years indicates a problem in music education for which solutions have to be found in the future.

ABSTRACT. Professional development includes activities that develop an individual’s skills, knowledge, expertise, and other characteristics as a teacher. Continuous professional development is a vital element of the career path of teachers providing training that can affect classroom and school practices. The purpose of this paper is to investigate the beliefs of music specialist teachers concerning teacher professional development and the effects of continuing education courses on their teacher professional development in Hungary. A total of 272 music specialist teachers participated in the research process. Data were collected using an online questionnaire method. SPSS was used to process data using quantitative methods. The researcher employed descriptive statistical methods (frequencies and means) for data analysis. The results indicated that the most common extracurricular activities of the majority of music specialist teachers are informal meetings and discussions with colleagues, reading of specialist literature, participation in the activities of professional groups within the institution, holding demonstration classes, and participation in the work of pedagogical professional groups, workshops, and networks. In the beliefs of music specialist teachers' beliefs about continuous professional development, the following play an important role: expanding musical knowledge, developing pedagogical competencies and computer skills, expanding knowledge about individual treatment, individualized development, and talent development, cooperation with colleagues and learning from them, and the teacher promotion. The music specialist teachers indicated that the following continuing education courses have had the most significant impact on their professional development: recognition and development of exceptionally talented children/students; collaboration learning from each other; individualized development; methodological competencies; and cooperation of colleagues. Strengthening professional competencies is, of course, essential not only for new teachers but for all teachers, and as the expectations of teachers become more and more complex, continuous professional development is essential, even for experienced teachers.

ABSTRACT. In the United States, ongoing professional development is a required element of teacher licensure. In order to meet state requirements, educators often blend subject-specific professional development and general educational professional development, the latter of which is frequently provided by school districts on campus. These school-provided professional development programs are often linked to new curriculum initiatives, many of which educators are then assessed upon as tools to measure educator growth. One challenge of being an educator is navigating the many these various pathways charted by such educational reforms. For music educators, there may be added complexity as school-provided professional development may be only tangentially connected to their subject matter, thus resulting in educators who “perform” the new initiative during observations but may resort to prior practices when not being observed.

In this presentation, I utilize Foucault’s notion of “resistance discourses” and Stickney’s conception of “hidden scripts” to consider how music educators respond to curricular reforms derived from all-school professional development initiatives. I focus on how new initiatives become legitimized knowledge that forms dominant discourses within school communities. As music educators interact with such discourses, I contend that they often frame themselves as straddling a perceived rift between their own music-centric practices and mandates that may feel disconnected from their work. I offer three composite narratives of music educators at varying points in their career to consider differing responses to such mandates, drawing particular attention to how actions made within each narrative are used to enact capillary power as discourses are reinforced, resisted, and remade. I utilize these examples not to point to music teaching practices that are normal or abnormal, traditional or progressive – rather I do so to consider how choices made by practitioners are enacted within rules and boundaries originating within and beyond educational institutions.

ABSTRACT. In November 2023, the Ministry of Education of China issued a new document concerning the reform of the Yikao, also known as the Arts College Entrance Examination (ACEE), marking a new phase in the examination for all arts majors across mainland China. This study aims to explore the historical background, core changes, and implications of this reform, particularly focusing on the changes and impact on music candidates through an examination of the reformed “province-level examinations” of 30 provinces in China. Employing content analysis, we coded all data using emergent coding methodology. The findings revealed five key themes regarding the core changes of the new NACEE: (a) two streamlined categories—music performance and music education; (b) elevated standards for music literacy and professional competence in province-level examinations; (c) demands for music candidates to demonstrate robust musical skills; (e) higher requirement in academic scores; and (f) the intent to increase fairness and avoid corruption. The research emphasizes the trend toward standardized assessment in the field of music and underscores the potential challenges it may present for music candidates. While the reform of the Yikao aims to enhance fairness and standardization, it also raises concerns for non-standardized highly creative candidates.

(paper presentation)

ABSTRACT. This workshop will provide music teacher educators (MTEs) with an opportunity to reflect on the ways that their programs are currently supporting pre-service and in-service music teachers in becoming “culturally responsible” as well as to identify practical new paths forward. Culturally Responsible Music Teaching (CRMT) refers to practices of connecting with music students meaningfully, engaging them in their own constructions of knowledge and art, and opening their minds to diverse potentials. This workshop concerns the ways that music teachers can develop such pedagogical pillars across their lives and careers. In this workshop, I will briefly outline a grounded theory framework of becoming culturally responsible, which features five main developmental processes, each often described by music teachers as occurring simultaneously: (a) Inheriting and Maturing in Aspects of One’s Origins; (b) Coming into Caring for Students; (c) Coming to Appreciate What Connects to and Engages Students; (d) Unlocking Plural Practices; and (e) Rousing More Open Musical Dimensions. This framework also features five main influences of development: (a) Role Models Who Inspire, (b) Students’ Resonance in Learning, (c) The Self, (d) Time/Experience, and (e) Supports (e.g., funding, resources). Regarding the implications of this research, we will focus on and discuss strategies for expanding music teachers’ pedagogical and musical skill sets in an age of change through building or strengthening: ties with creative musicians in our institutions and communities; alumni support networks; equity and diversity course elements and/or workshops; service learning experiences in diverse communities; trauma-informed and student-centered content in coursework and beyond; self-directed learning support; and more. Fundamentally, this preliminary developmental theory will serve as a valuable frame for reflection and discussion on MTE practice. Indeed, MTEs have the same responsibility to evolve and grow as music teachers do today.

ABSTRACT. Many music educators say that music education is inclusive of 2SLGBTQIA+ (two-spirit; lesbian; gay; bisexual/bi; transgender/trans; queer; intersex; asexual/ace; and more) students and people; however, schools can be adverse environments for 2SLGBTQIA+ people, as 2SLGBTQIA+ students and educators continue to experience bullying and verbal, psychological, and physical harassment in schools. Additionally, many 2SLGBTQIA+ people have intersectional identities that make schools and music education even more unsafe for them. My desire to gain a deeper understanding of these things was prompted by perceived assumptions made by music educators about the inclusion of 2SLGBTQIA+ people in music education, which were at odds with my own experiences as a queer person in a wide variety of music education contexts throughout my life. Thus, I conducted a study, using queer theory as the guiding theoretical framework for this research, to better understand the dominant discourses in the area of music education surrounding the inclusion and exclusion of 2SLGBTQIA+ people, as well as the experiences and perceptions of inclusion and exclusion held by 2SLGBTQIA+ academics in music education. The results of this study demonstrate complex and multi-faceted forms of inclusion and exclusion for 2SLGBTQIA+ people in music education—forms of inclusion and exclusion that provide additional much-needed nuance to existing music education discourses. Though the process of providing additionally complexity to the existing music education discourses regarding the inclusion and exclusion of 2SLGBTQIA+ people in music education, participants in this study also provided a wide-range of recommendations to make music education more emancipatory and radically inclusive of 2SLGBTQIA+ people. Recommendations include calls to queer music education practices, remove barriers that prevent the meaningful inclusion of 2SLGBTQIA+ people, embrace the wide range of 2SLGBTQIA+ and intersectional identities present in all music education contexts, and foster a willingness to learn.

ABSTRACT. This paper starts from the premise that queer individuals might be navigating complex challenges in finding their place within the vocal constructs of music education. By questioning the necessity of framing the voice within rigid gender binaries, this study leverages post-structuralist and queer theories of gender performativity to explore how these constructs influence self-expression and identity. The paper examines the artistry of Nuri Harun Ateş, a Turkish countertenor whose eclectic vocal and stylistic choices challenge conventional constructs of genre and gender. Ateş seamlessly navigates Western classical, pop, and nostalgic Turkish music, performing in Turkish, French, Italian, English, and Kurdish. His performances, marked by feminine-coded styling and lyrics that foreground his queerness, invite audiences to question entrenched societal norms about gender and identity. Drawing on media analysis, interviews, and live performance observations, the paper aims to highlight Ateş’s role in challenging traditional binaries and to explore how his approach to fluidity can inspire and inform music education practices. By foregrounding these theoretical perspectives, this paper aims to offer new insights into integrating concepts of gender and genre fluidity within formal, non-formal, and informal music education. While the study is ongoing, this presentation will focus on theoretical implications and their potential applications, providing a foundation for future work in this area.

ABSTRACT. Since research first reported on associations between musical instruments and gender, ensuing studies have confirmed a strong tendency toward stereotyping instruments as more masculine or feminine, including those included as part of school music programs. It is unclear the degree to which these associations are attributable to pre-existing socialized gender stereotypes or to intrinsic instrument characteristics. To address this, we designed the current study to feature instruments that are unfamiliar and non-socialized in the broad US music context. The purpose of this study was to explore the relationship between students’ self-reported gender identity and preferences for unfamiliar musical instruments.

Participants (N = 213) were students in intact music classes grades 3-6 (ages 8-12) attending 1 of 3 participating elementary or middle schools. These levels correspond with the grades at which students typically begin school-based instrumental music instruction. The seven instruments selected were unfamiliar in the US, representative of music traditions from outside the Western canon, and pitch-producing. We presented students with a series of 21 instrument pairings and asked them to indicate which they preferred. We then presented students with images and audio clips of the entire group of instruments and asked them to rank their top three choices if they were able to play one.

Among instrument pairings, students self-identifying as boys (n = 94) selected the berimbau and lituus more frequently while those self-identifying as girls (n = 114) more frequently selected the duduk (p < .003, Bonferroni corrected). When ranking their top 3 instruments, there was no significant relationship (p > .0125) between rankings and gender identity, although boys tended to rank berimbau as favorite while girls tended not to rank it at all. Overall, for most instruments there was limited evidence of gender-associated preferences. Where differences did emerge, they may reflect response to playing style or, by extension, musical function.

ABSTRACT. Several states in the US, including Georgia, recently enacted legislation (Divisive Concepts Laws) limiting teacher discretion in the classroom. Teachers may face disciplinary action for discussing “divisive concepts,” such as gender, sexuality, race, and equity. For music educators, this can directly affect curriculum and classroom practices. Discussing the context of repertoire, choosing performance attire, and even the voice part assigned to singers may now put teachers at odds with Georgia laws.

The purpose of this study is to examine Georgia music teachers’ perceptions of the impact of recent Divisive Concepts Laws on their teaching. Do teachers believe that their teaching has changed due to the laws? Do they know what is and is not permitted under the laws? What guidance were they given by their school districts as to compliance with the laws?

Georgia music teachers participated in a researcher-designed online survey, describing how their teaching has changed due to Divisive Concepts Laws, rating their level of understanding of the laws, and describing how their school districts prepared them to follow the new laws. The survey included open-response questions to collect rich descriptions of the teachers’ perceptions and their teaching contexts. Several respondents volunteered to participate in follow up interviews. The collected data has implications for both professional development needs and music educator preparation programs.

ABSTRACT. This paper offers a mixed method documentary analysis of England’s Model Music Curriculum (2021). England’s recent educational reforms, and their implications for music education, are briefly discussed in the context of cultural restorationist and neoconservative policy approaches. A content analysis is used to categorise the repertoire into ‘genres’ that the Model Music Curriculum itself identifies. This highlights a range of repertoire, but a distinct weighting towards the Western classical and other Western traditions. Viewing the document through a postcolonial lens, a thematic analysis identifies pertinent meta-themes relating to essentialism, nostalgia and hegemony. The results are considered in the context of the UK’s former colonial history and its multicultural present, questioning how music education policy may be indicative of hegemonic cultural attitudes which marginalise some musical cultures in favour of more traditionalist approaches. The analysis highlights that, in the context of culturally restorationist policy reform, a nostalgic return to educating about the ‘great composers’ offers a confusing conflation of Englishness and whiteness, and asks why non-English classical composers are seemingly more highly valued than other musics already embedded in English musical culture. On a more fundamental level, the analysis invites us to question whether changes in music education are indicative of a more fundamental change in attitudes to multiculturalism in England, thinking about whether the approach in the document is, perhaps, more representative of assimilative attitudes to newer cultures and isolationist approaches towards the rest of the world, reinforced by tokenistic and essentialist outlooks. We are encouraged to contrast a culturally nostalgic approach to music education with Bhabha’s concept of hybridity, which is, potentially, a useful way to view modern English society. This encourages us consider the possibilities from a perpetually evolving culture and embrace the musics that emerge from it as ‘English’.

ABSTRACT. At a time when U.S. students are becoming more racially diverse, laws are being introduced that jeopardize the careers of educators who discuss systemic racism. In the last few years, 44 out of 50 states have proposed or implemented laws and policies that prohibit discourse on racial injustice in educational settings. Music teachers in these states fear for their jobs, and therefore may emphasize Western Eurocentric ideals. As a result, the marginalization of students of color could be perpetuated. Navigating ethical music instruction within a challenging sociopolitical environment is complex, and students of color need support. Educators can be equipped to work within these constraints while encouraging their students of color. In environs such as this, it is the ethical duty of the teacher to create learning experiences that prioritize the needs of students in a safe and equitable space, and nurture free expression. Ethical Voice Teaching (EVT) (Author, 2023), grounded in the insights of Regelski (2012) and informed by antiracist principles (Dei, 2000), offers vocal educators valuable strategies to sustain their students of color during these tumultuous times related to race and ethnicity. This case study explored vocal music education students’ perspectives on EVT in a U.S. state with laws that ban discussing racism in K-12 education. Data generated from interviews, material culture, and a researcher journal were analyzed through ethical and antiracist frameworks. Findings suggest that preparing choral educators to focus on culturally sustaining repertoire, provide sociohistorical context, and employ culturally relevant transmission methods may enhance students’ dedication to supporting community needs. Participants’ intended teaching approaches correspond with existing research, highlighting the importance of ethical vocal education that addresses the needs of students and their communities. There are implications for music teacher education that prioritization of ethical approaches could counter cultural assimilation and silencing of students of color.

References

Author. (2023, April 11-14). Ethical Voice Teaching [Paper presentation of preliminary results]. The 13th International Conference for Research in Music Education, Online. Dei, G. J. S. (2000). Power, knowledge and anti-racism education. Fernwood Publishing. Regelski, T. A. (2012). Ethical dimensions of school-based music education. In W. D. Bowman & A. L. Frega (Eds.), The Oxford handbook of philosophy in music education, (pp. 284–304). Oxford University Press. https://doi.org/10.1093/oxfordhb/9780195394733.013.0016

ABSTRACT. Instrumental teachers in higher music education (HME) experience a high degree of freedom to shape their teaching practices. With the education of professional musicians being a complex process, teachers and students might develop a close, all-encompassing relationship with intricate power-dynamics, and instrumental lessons can include matters of health, career, or personal lives. This paper reports on a project examining how instrumental teachers in HME create and negotiate the boundaries of their roles and responsibilities, of the content and activities of the instrumental lesson, and of the mandate and purpose of instrumental teaching.

Boundaries are here understood as socially constructed symbolic delineations negotiated through boundary-work – the material-discursive work done to create, change, preserve, relate to or cross symbolic boundaries. For the project, an analytical framework detailing different modes, relations, purposes, continuums and contents of boundary-work, has been developed.

The project’s material comprises in-depth interviews with ten HME instrumental teachers, 4 women and 6 men, with a wide variety of backgrounds, teaching different western classical instruments. The interviews were analysed using critical discursive psychology combined with the framework on boundary-work.

This paper outlines central results. For example, teachers’ boundaries varied according to notions of the “actual” versus the formal purpose of higher music education, of what the students needed as both musicians and as young people, and of what teachers’ functions should be – which were connected to notions of what teachers were qualified for. Their boundary-work was intrinsically related to teacher and student power dynamics, and acts of downplaying the teacher’s power played a considerable part. Self-contradictions and variations in boundary-work could indicate ideological dilemmas or intentionally ambiguous boundaries intended to accommodate otherwise conflicting categories. The project provides insights into the discourses shaping instrumental teaching, and has implications for the organisation of HME and the qualifications of instrumental teachers.

ABSTRACT. The forging and maintenance of alumni relations is critical to the sustainability of Higher Music Education Institutions worldwide. In contrast to university-based career mentoring programmes, research about the role of alumni in conservatoire students’ professional development is scarce. Alumni profiles are often used to support conservatoires’ marketing campaigns, featuring graduates perceived as having the most ‘successful’ careers. Yet, alumni can contribute significantly to conservatoire education by being honest about their lived experiences as graduates and breaking down perceived barriers relating to what constitutes success in music. This research addresses a significant gap in the literature by involving conservatoire staff as participants. Firstly, perspectives on alumni involvement in a UK conservatoire’s day-to-day activity were gathered from 64 staff via an online questionnaire. Subsequently, researcher observations of a series of career seminars led by ten alumni provided context for semi-structured interviews with two academic staff who organised the series. The findings, which are developed into a model for ‘alumni in conservatoire education’, show that whilst conservatoire staff were committed to supporting students’ professional development through alumni activities, the benefits of alumni contributions for the professional development of staff could be more widely recognised, to further develop institutional approaches to supporting student-professional transition.

ABSTRACT. Some scholars found that international teachers in secondary schools experience cross-cultural issues in communication with students (Hutchison, 2006; Yip et al., 2019). Communication refers to everything involving “spoken and written language, body language and the language of etiquette and protocol” (Hurn & Tomalin, 2013, p. 2). However, few studies have discussed the cross-cultural issues that arise when Taiwanese music faculty communicate with students in U.S. higher education settings. Therefore, the purpose of this phenomenological study is to explore the experiences of Taiwanese music faculty in cross-cultural communication with students of American higher education institutions in order to help them reduce cross-cultural incompatibility and culture shock.

A work-in-progress, this study uses interpretative phenomenological analysis as the theoretical framework. Data is collected through one-on-one semi-structured online interviews. Additionally, participants may be asked to clarify their viewpoints via post-interview follow-up emails. One interview has been conducted and the remaining data collection and analysis will be completed by December 2024. The data will be coded to identify themes and, finally, interpreted in a “thick description” (Creswell & Poth, 2018, p. 263).

At this stage of the study, the current data shows that Taiwanese music faculty experience cross-cultural differences when communicating with students in higher education in areas that include (1) the importance of using immediate positive feedback in teaching, (2) the tone used by students in written communication, (3) the outspokenness of students when expressing their opinion to music faculty, and (4) the need for faculty to seek student consent for hands-on guidance that may involve touching.

This study will help future Taiwanese music faculty and others understand the differences and similarities in cross-cultural communication that may occur when teaching students in American higher education. This understanding can help Taiwanese music faculty alleviate cross-cultural incompatibility and culture shock in such higher education settings.

ABSTRACT. Resonant Encounters with Javanese Gamelan and Synthesizers by Young People Disengaged with Mainstream Education

Our initial exploration of the role of Javanese gamelan performance in alternative education provision for disengaged young people examined the interface between gamelan, ethnomusicology, teacher education, and inclusive learning. Hosted by Kingston University London, the project centred on a series of workshops on the Javanese gamelan ensemble while another strand of the project involved students from the MA in Music Education programme, who had participated in a series of classes with the ethnomusicologist on Javanese gamelan performance and workshop techniques, before assisting with the workshop sessions. Adding a third strand to this project, this pilot project explores the addition of workshops involving synthesisers to create and modify sound from "scratch" in which a video game created by one of the researchers was the impetus for these sounds. As the young people participated in both music workshops, we consider the intersections (musically and inclusively) between these two participatory music experiences, the engagement and responses from the young people, and how the interdisciplinary approach to these workshops informs and expands the possibilities of inclusive music experiences for young people.

From a music teacher educator perspective, we present how these workshops develop postgraduate music education students’ views on inclusive music teaching and learning outside of mainstream education.

We also incorporate a ludomusicological perspective, focusing on play and playful engagements with music and sound, and explore the ways in which music technology can not only be made more accessible but also how musical play can facilitate wellbeing.

From an ethnomusicologist perspective, we also examined Gamelan participatory workshops’ impact on cultural negotiation and alterity. In this symposium, we hope to generate discussions around non-normative pathways to music engagement and support of wellbeing through these pathways.

ABSTRACT. The purpose of this presentation is to introduce a new model of Holistic Musical Thinking (HMT) as a research-based approach to music teaching and learning and explore its practical applications. The result of a critical re-examination of pedagogical norms, HMT offers novel insights into music education by combining three learning and two teaching dimensions to represent the holistic nature of music teaching experiences. In addition to the pedagogical groundings supported by well-established educational traditions in cognitive, affective, and psychomotor learning, this presentation outlines practical applications of HMT in primary and secondary school settings. In addition to the three well-established cognitive, affective, and psychomotor learning dimensions, HMT includes two additional teaching dimensions: curricular integration and learner engagement. Adopting such a holistic approach that honors the whole musician accomplishes several goals. It connects musical knowledge and skills that are intrinsically self-reinforcing. It also acknowledges the multi-layered richness of music as a multi-faceted experience, with demonstrated connections through the body and brain. Thirdly, a holistic approach connects music teaching and learning with other subjects in school curricula, as supported by interdisciplinary and transdisciplinary understandings that cross curricular boundaries. Further rationale for HMT supports teachers with practical and multi-faceted pedagogy that elevates learner engagement, one of the most universal aims of music education. By re-envisioning their teaching practices in terms of HMT, music teachers and teacher-educators can develop more comprehensive ways to advocate for their programs and modify their instruction to offer a broad range of intellectual, physical, and emotional aspects of music learning. This five-dimensional HMT model provides multiple entry points for articulating cognitive, psychomotor, and affective learning goals while also developing interdisciplinary and engagement teaching strategies. Classroom vignettes and example pedagogical strategies complete this presentation, framing HMT as a new direction in music education research, with connections to other emergent scholarship.