ABSTRACT. Our research has explored the lived experiences of women in both the Australian and Finnish classical music industries (Gibson 2024; Ramstedt 2024). Across our two studies we spoke with 34 musicians (20 in Australia, 14 in Finland) whose accounts demonstrated the perpetuation of sexual violence, emotional abuse, systemic silencing, harassment, and grooming within workplaces and educational institutions. Although completed independently, our findings demonstrate eerie similarities.

Unfortunately, despite a plethora of research that explores these details globally in both education and professional spaces (see, for example, Bull et al. 2023), little-to-no change has occurred within the industry. Why is this? How can researchers, practitioners, and educators create meaningful change that extends beyond tokensitic virtue signalling and instead demonstrates solidarity that addresses the urgency of these issues?

Research on sexual assaults and harassment in university campuses shows that prevention should also include teaching young individuals social-emotional learning skills and sexual education extending beyond the basics of consent (Hirsch & Khan 2020; Scharff 2020). By applying these perspectives, we explore how to best prepare young musicians for the demanding classical music industry, how to manage unsafe spaces as emerging musicians, and examine the challenges that such an endeavour entails.

Reference list Bull, A., Scharff, C., & Nooshin, L. (Eds.). 2023. Voices for Change in the Classical Music Profession: New Ideas for Tackling Inequalities and Exclusions. Oxford University Press. https://doi.org/10.1093/oso/9780197601211.001.0001. Gibson, C. 2024. Navigating Gender Identity in a Musical Europatriarchy: Stories of Power, Consent, and Silence. Monash University: Doctoral dissertation in Musicology. Hirsch, J., & Shamus, K. 2020. Sexual Citizens: Sex, Power, and Assault on Campus. W.W. Norton & Company. Ramstedt, A. 2024. Classical Music, Misconduct and Gender – A feminist study on social imaginaries and musician women’s experiences of gender inequality in Finland. Dissertationes Universitatis Helsingiensis 300/2024. Studia Musicologica Universitatis Helsingiensis XXXI/2024. Helsinki: University of Helsinki. Scharff, C. 2020. Prepare her for sexism. The European Journal of Women's Studies, 27(1), 3-8. https://doi.org/10.1177/1350506819885707

ABSTRACT. The purpose of this study was to explore the experiences of women former high school band directors (N=9) who chose to move out of high school teaching and into collegiate music education. Research questions: (1) What elements of women band directors’ experiences influence decisions to move out of high school band directing? (2) What are women band directors’ experiences with impostor phenomenon (IP), vulnerability, perfectionism, and self-efficacy/self-esteem? (3) How do women former band directors make meaning of experiences? Using phenomenology as the method and feminism as an analytical tool, I examined the lived experiences of participants by analyzing their responses from three, semi-structured interviews. Findings indicated that challenges related to the old boys’ club, the need to police gender, being stereotyped into other roles based on gender, and time commitments were influential in participants’ desires to leave band directing. Women were also motivated to leave based on their desire for new challenges. Findings indicated that IP, perfectionism, vulnerability, and self-efficacy/self-esteem immensely influenced the experiences of women high school band directors in their K-12 work, but also in some of their higher education experiences. IP helped explain some women’s insecurities regarding their band directing abilities and in combination with perfectionism provided insight into needs for validation. Some participants found others’ perceptions to be a hindrance to their ability to be vulnerable, creating further needs to take on a different persona. Self-efficacy/self-esteem influenced the work of women band directors based on their feelings of needing to trust themselves more, how their self-worth influenced their work, and frustrations about the title “doctor” not being honored outside of academia. Participants also discussed meaning-making through various kinds of reflection. Critical reflective processes allowed participants to incorporate meanings made into collegiate work. Findings further indicated that patriarchal power was a harmful influence on participants’ experiences, in some cases prompting career moves into higher education. Findings suggest implications for music teacher education and needed reflective practice among women band directors.

ABSTRACT. Theoretical background Across different disciplines and theoretical perspectives, research studies have demonstrated that self-concept is predictive of a wide range of desirable outcomes (e.g., Arens & Hasselhorn, 2014; Lohbeck, 2023; Marsh & Craven, 2006; Valentine et al., 2004; Trzesniewski et al., 2006) and, therefore, is crucial to children’s and adolescents’ development (e.g., Harter, 2012). Self-concept is defined as a person’s self-perceptions across multiple domains (e.g., Rosenberg, 1979; Trautwein & Möller, 2016) and is, according to Shavelson et al. (1976), multidimensionally and hierarchically structured. In relation to music self-concept, Vispoel (1994/2021, 2003) obtained empirical support in line with Shavelson et al.’s (1976) self-concept model for a strong self-concept hierarchy representing a variety of music-related skills. Within this hierarchy, music self-concept is dominated by self-perceptions of skill in auditory cognition and instrumental performance rather than by self-perceptions of skill in moving to music and singing (Vispoel, 2003, p. 163; see also Morin et al., 2016; Vispoel, 1994/2021; Vispoel & Lee, 2024). Moreover, multiple studies have demonstrated that music self-concept is linked with other outcomes such as school grades in music, experience in art and music, and self-perceived ability in matching musical domains (e.g., Fiedler et al., 2024; Morin et al., 2016, 2017; Vispoel, 1994/2021, 2003).

Aim In the present study, we evaluated relationships between music self-concept, school grades in music, and musical competencies within a sample of German fifth- to tenth-grade students in secondary school education.

Method The sample included N = 1300 students (9 to 19 years old; M = 12.82; SD = 1.81), all recruited within middle- and high-track schools of the German secondary education system, including 5th to 10th graders with a higher percentage of females (54%) than males (46%). Demographic background variables such as gender and age, self-concept (Fiedler & Spychiger, 2017; Schwanzer., 2002), and school grades in music were assessed using a self-report questionnaire. Musical competencies were measured using the KOPRA-M (Lill et al., 2020) competence assessment within three dimensions of music-making, rhythm-making, and singing. We analyzed the data using correlation indices to examine the relationships between the variables and structural equation modeling (SEM) to further differentiate the links between two subgroups of musically active and non-active students.

Results The correlation analysis showed that music self-concept was related to both grade (r =.33, p <.01) and competencies (r=.36, p <.01), with the relationship between music self-concept and music-making being higher (r = .41, p< .01) than with rhythm-making (r = .26, p < .01) or singing (r = .33, p < .01). Accordingly, these relationships also were manifested within the SEM, even when controlling for gender and grade level. Differentiation of the correlations using the two subgroups showed that the correlation between music self-concept and school grade in music did not differ between musically active and non-active students (r = .36 and r = .33, p < .01), but that there were differences in the correlations between music self-concept and musical competencies (r = .36 and r = .48, p < .01) favoring non-active students.

Discussion and implications The results suggest that experiences with the environment (school grades) and manifestations of those experiences (competencies) are essential for developing self-concept in music. Therefore, it seems vital that students concentrate on making music and that teachers give them constructive feedback about their performances. This, in turn, has implications for music education practice since practical music-making and appropriate individual appreciative feedback should be given, especially to students who are not active in music. Thus, the results may provide valuable insights for developing intervention approaches to strengthen music self-concept and related skills.

ABSTRACT. This study explored student perceptions concerning student learning experiences and learner-teacher relationships in instrumental music lessons and ensemble activity in Australian secondary school contexts. The extra-curricular Australian context of weekly instrumental lesson during school, and ensemble engagement beyond class time aims to provide sustained , intense, engaging and developmental learning. This research reports on the qualitative data collection (interviews) of secondary music students learning an instrument/voice (N=110) to examine specific learning behaviours, strategies and traits used by secondary school instrumental music students in their acquisition and development of musical mastery. Focusing on three facets: instrumental teacher explicit instruction, engagement with peers, and ensemble activity, the study reports how secondary school instrumental music learners apply musical domain strategies and approaches and appl these across a range of domains including maths, sciences and humanities areas. Data striated across six years of study highlights the self-regulative impact instrumental music learning and engagement plays in the calibration of learning techniques, and students perception of strength, confidence and resilience in applying them in wider learning environments. The study adds depth to current concepts of near transfer qualities and possibilities across domains, offering salient indicators for further research investigating general academic benefit from music education.

ABSTRACT. Journeys and talking are deeply connected to Indigenous ways of knowing, being and doing. Conversations with purpose are well established as a research approach in Australian education, including Indigenous and non-Indigenous music education research collaborations. Aboriginal and Torres Strait Islander songwoman and cultural historian Jessie Lloyd has been developing an Aboriginal and Torres Strait Islander Songbook, a collection of stories and songs for use in Australian schools and early childhood centres. Along with non-Indigenous music teacher educators, Thomas and Emily, together we have been undertaking collaborative research into the process of developing the Songbook. This has involved workshops with teachers and with students in schools and early childhood centres as well as conference presentations in Australia and internationally. Journeys in general, and car journeys in particular, have emerged as valuable spaces for undertaking research. In this presentation, we explore talking in cars as a research tool that respects Indigenous notions of time and space, is linked with action, and driven by reciprocity, relationship and trust.

ABSTRACT. The paper for this session will share the conceptual framework that was utilized during my recent PhD research, and expand upon the findings (McCabe, 2023). My recent (PhD) research invited musician-music teachers to evoke a soundscape (share their narrative journeying to and through music) through creative music making. The conceptual framework offers a renewed approach to restorying one’s journey, allowing the human experience to be captivated by the aesthetic realm, as a layer of music and thought, adds harmony to text. Evoking a soundscape provides a deepened understanding musician-music teacher experience, by way of recording transactions that occur during music creation and the sharing of a life journey to and through music. Inquiring into a narrative, through the musical endeavor of the creator, widens the landscape of research in the field of narrative inquiry in music education because it relieves us from accessing information through text alone. Hearing musician-music teacher stories expressed through original music and poetry allows for what is resounding in their teaching craft to become apparent, through reflections that are a powerful tool as professional development, because it allows us to make connections between each other. This research captured the music stories of the participants and shares the untold story of their experience. My conceptual framework highlights the importance of expanding our ability to collect qualitative data and communicate findings, in a manner that engages us aesthetically, through music, allowing us to hear, and feel the story. My research utilizes the theoretical framework of the three-dimension inquiry space of narrative inquiry which supports an understanding of people, places, and events through temporality, sociality, and place (Connelly & Clandinin, 2006), and the (original) conceptual framework of evoking a soundscape, to draw on the creative process as a transaction (Rosenblatt, 1978). From a narrative view of experience, teachers often pay attention to place and their life stories within their experiences (Caine & Lessard, 2022). Attached to this proposal is a website where the soundscapes can be heard: annekethesismusic.myportfolio.com (Password: artful).

ABSTRACT. The integration of artificial intelligence (AI) in music education is prompting a critical re-examination of educational practices. Educators and students navigate new technological, creative, and reflective challenges in learning environments (Chiu, 2023). German education policy calls for a critical and constructive debate and the teaching of a responsible and reflective approach to AI (KMK, 2024). Building on the recognized significance of AI in educational settings (Buchborn & Treß, 2023; Treß, 2024), this paper addresses the unique ways in which AI is perceived by key stakeholders in Germany, probing into their views on its potential relevance to music education.

Through group discussions with music teachers and teacher students, this study collects initial insights into the educational and professional implications of AI in music education. Our analysis employs the documentary method (Bohnsack, 2018), grounded in praxeological sociology of knowledge, to investigate participants' implicit, action-guiding knowledge, everyday reasoning and normative logics regarding AI’s role in music education.

While the analysis is ongoing, early findings highlight several central themes: Participants recognize the utility of AI for tasks like literature research and text summarization, but concerns about accuracy and reliability remain, especially regarding evolving information. While some view AI as a helpful tool for fostering creativity in music education, others question its depth and originality. Attitudes towards AI vary, with some embracing it for efficiency and others fearing over-reliance may hinder critical thinking and independence.

These preliminary results reveal a tension between acceptance and skepticism regarding AI’s role in music education, suggesting diverse views on its integration in teaching and learning.

This study provides an evolving perspective on the role of AI in music education, offering cautious insights into potential directions for professional development and classroom practice.

ABSTRACT. The intersection of popular music composition and artificial intelligence (AI) is a dynamic and rapidly evolving field. With the rise of AI music generation and compositional tools, this technology has the potential to revolutionise the music creation process. Between assisting composers with creative block’s, to providing feedback on given samples, AI offers innovative techniques for artists to explore. Despite these advantages, there remains significant resistance regarding the use of this technology, particularly within the education sector where significant ethical concerns are prevalent. Nevertheless, as artificial intelligence continues to become more widespread, it is crucial to address this technology within higher education not only to promote ethical practice, but to also better prepare students for the modern and ever-changing industry when they graduate. Adopting a case study approach, this project aims to explore how AI can support the creative process for undergraduate music students. Through the investigation and analyzation of current applications of AI within popular music, conclusions surrounding future applications within education can be drawn. Additionally, this study also seeks to examine themes of human versus computational creativity and address the ethical concerns surrounding authorship, authenticity and the potential socio-cultural impacts of AI music. The findings of this research will be presented as an interactive paper including demonstrations of prominent AI music tools. This paper will also explore some of the outcomes of a study investigating second-year undergraduate music students’ attitudes towards AI and music, assessed both before and after a series of three lectures introducing AI music concepts and tools. This research endeavors to contribute valuable insights into the evolving relationship between technology, creativity, and music education. By fostering a deeper understanding of computational creativity, the study seeks to highlight the creative potential of AI and its place within higher music education.

ABSTRACT. Sight reading is a skill required of professional musicians, though there are reports that it is not taught systematically at the tertiary level, especially on students’ secondary instruments. Some music schools require students to learn basic keyboard skills on a secondary instrument (i.e., the piano), though they rarely achieve mastery with elementary-level sight reading. Advanced pianists, who teach these students, have automated many of the complex steps involved in sight reading and while sequenced piano sight-reading materials for these levels are plentiful, there are few agreed upon strategies for teaching sight reading.

Researchers have used eye-tracking software to study eye fixations, saccades, and eye-hand span of advanced pianists during sight-reading tasks. Preliminary or pilot studies exploring the connection between eye fixations, pattern recognition, and sight-reading performance of elementary-level university secondary piano students have reported results at music education conferences. This presentation reports on the findings of a replication study that used rhythmic and pitch chunking treatments for three weeks with secondary piano students (N=46) with the aim of highlighting strategies that can be used when teaching the skill. T-tests of pretest performances, evaluated for rhythm, pitch, and continuity accuracy using a rubric, revealed no significant difference between the study groups. Following six 10-minute treatments during a three-week period, the experimental groups (E1=rhythm drills; E2=pitch drills) performed significantly better than the control group that was not trained to recognize or chunk musical patterns on the posttest. These findings aligned with the original study, while eye-tracking data confirmed that fixations corresponded with mistakes during performance and provided additional insight into where students were recognizing rhythm and/or pitch chunks. Rather than simply reporting the findings of the current study, this workshop will feature instructional strategies (confirmed by the research) that can be employed during lessons and classes to help students improve sight-reading skills.

ABSTRACT. In this presentation, I will bring very young children’s music worlds into view. These are worlds where oracy is not the main communicative medium, worlds where other forms of expression and connection can be seen, heard and take priority. In these spaces through their play, curiosity, originality and bringing together of unrelated things, very young children’s musics are found to be polyphonic, embodied, situated knowledges. By giving attention to their ways of knowing and understanding the world it is possible to gain insights for music education research and practice. Aligned with both Braidotti’s and Haraway’s posthuman philosophical insights for an interlinked nature-culture continuum to explain all entities on earth - in terms of their force and impact on other entities in the world - a paradigm is opened for thinking about humans, more than humans, sound and music as emergent and co-creative. This may call for a slow approach to practice that gives time and space for what is emerging to be seen, heard and worked with. Playing with mycelium as my research-theorising companion, sound and music are experienced as hyphal, wild and extravagant. Research positionality and its affects, from a ‘mycelial’ perspective, will be explored. Research and researcher are situated within an entangled mesh of connecting strands of intra-activity, affected by and affecting every ‘thing’ in a commingled state. This understanding has drawn my attention to the practices we (educators, researchers and makers of music) enact that have the potential to bring myriad ways of knowing music into the world. I will explore these ideas with reference to recent research projects, discussing the implications for practice and research.

ABSTRACT. The Adaptive Bridging Program was established in 2023 to provide an avenue for students with a disability aged 8-14 the opportunity to learn an instrument and participate in an ensemble, with an ongoing research project incorporated to investigate participant engagement. Aligning with a long-standing collaboration between Melbourne Youth Orchestras and Melbourne Conservatorium of Music, the program was established to provide opportunity to those gatekept from or frustrated with school participation. This research reports on the first two years of the ensemble (2023-2025). The study analysed student, parent and tutor perspectives to learning, engagement and growing resilience from experiential encounters within the ensemble rehearsals. A framework comprising elements of musicking, relationality, agency, reflection and self development represent positive effects of music participation. A qualitative methodology was used to forefront student and parent voices that are often silenced. Pedagogical and creative adaptations involving democratic, inclusive and participatory approaches are used to understand student perspectives that involve cripping performative time and space. The study highlights the agentic intra-action possible between disabled children as musicians, composers, and critical thinkers in creative spaces. The study offers implications for inclusive music practices and new directions in creative music making involving able and disabled musickers.

ABSTRACT. The global population of older people is rapidly increasing. Reports indicate that while 10% of the global population was aged 65 or older in 2022, this number will increase to 16% by 2050. It is now possible for people to live well into, or even beyond their 80s. There is a growing focus on how to “successfully” age, which is defined as an individual having low incidence of disease and disability while maintaining a high level of physical and cognitive function. However, “successful” aging is subjective and such a viewpoint can exclude older adults who may already be marginalized and not situated to realize these expectations. The reality is that as our population ages, most people will experience disability either temporarily or permanently, due to age-related changes in functioning or other health conditions.

There is a significant amount of research literature focused on music, aging, and well-being either in recreational or therapeutic settings. Active participation in music is often described as beneficial for maintaining older adults’ physical and mental health by slowing age-related decline, experiencing enjoyment, sustaining social connections, and further developing individual identity. Yet there are few inquiries that are specifically focused on people aging with disabilities or those who develop late-life disabilities, and even fewer examining the role of music in their lives. Older adults with disabilities may often be excluded from music experiences due to physical barriers, inaccessible technology, transportation difficulties, or ableist attitudes. In this presentation I explore the research on late-life disability, the challenges and opportunities of disability in the lives of older adults, how music participation can impact their quality of life, and adaptations that can support people with late-life disability in musical settings to make an inclusive environment for all. Studies for this analysis were identified in Google Scholar searches using various combinations of the terms music, music education, music therapy, leisure, well-being, disability, late-life disability, gerontology, and aging.

ABSTRACT. Teenagers today face multiple demands on their time, energy and attention. For those who are fortunate enough to be involved with extra-curricular activities, music and sport can be in direct competition. Young people sometimes have to decide to participate in the football match or the orchestra rehearsal, to practise for the tennis match or their piano lesson, and are likely to base that decision on what appeals to them most, or what will fend off the pressures from the teachers, parents and peers who also have views on which is the most valuable activity. Young people are less likely to be thinking about the longer-term consequences of their decisions: are there careers open to them in either domain, might there be a route into a fulfilling lifelong hobby, and will their life be enriched, or otherwise, by the choices that they make in these formative years?

This paper takes a theoretical, research-informed position on the place of music and sport in education, and in culture and society more widely, from the perspective of our three home countries, England, Australia and Canada. We raise questions about curriculum policy and lived experience, about musical and sports identity across the lifespan, and about the purported benefits of participation in both domains. This position is represented by a proposed model situating adolescent music and sports participation alongside one another (and in combination with other components of life) in order to facilitate ‘wellbeing’ across the lifespan. This model is presented as the foundation for further research into how schools and communities could be better supported to ‘play the long game’ in their teaching and learning provision.

ABSTRACT. In one-to-one music settings, a positive teacher-musician relationship can make a difference to the degree musicians learn, progress and enjoy. The relationship developed and maintained between teachers and musicians would seem central to teaching, learning and crucially to wellbeing. Yet, music psychology and music education literature currently lack a conceptual and operational definition of the concept of relationship as well as valid and reliable measurement, limiting research, cross-study comparisons and evidence-based applications. In contrast, sports psychology, has developed a robust body of work on the coach-athlete relationship. Given the shared emphasis on achievement and performance and the value of dyadic interaction in both settings, it is anticipated that research on one-to-one relationships in music education can benefit from knowledge that has been generated in sport. The 3+1Cs model of relationship quality, an integrative framework encompassing closeness, commitment, complementarity, and co-orientation, along with its empirical tool, the Coach-Athlete Relationship Quality Questionnaire (CART-Q) has effectively operationalised and measured relationship quality in sport settings. Findings indicate that high-quality relationships positively impact performance and wellbeing. Moreover, several studies have investigated the correlates of this relationship (e.g., motivation, confidence, anxiety, burnout, injury). Building on this model and measure, this study developed the Music Teacher-Musician Relationship Quality Questionnaire (MTMR-Q) to assess relationship quality and related variables (e.g., motivation, basic psychological needs, subjective wellbeing) in one-to-one music settings. This quantitative study has surveyed music teachers and musicians (age 16+), data will undergo confirmatory factor analysis and structural equation modelling to assess validity of the questionnaire and the correlates of quality teacher-music relationships. Data collection concludes in December. This research forms part of a broader project which aims to deepen understanding and develop interventions to support this relationship to thrive.

ABSTRACT. While the Soviet occupation of Latvia (1944–1990) had many negative consequences on cultural life, some traditions established during that time are still being developed. One such tradition is related to musical education. Great attention was paid to the availability of musical education in the Soviet period. Therefore, a wide network of children's music schools was set up, resulting in more than 50 music schools, 68 music and art schools, 8 state-founded and 1 municipality-founded secondary music school that implemented vocational education programmes in Latvia. For a small contribution, children could learn how to play musical instruments in individual sessions. Music school students were raised as future music professionals since their childhood. However, children's music schools in the Soviet time had also some negative aspects that were partially handed down to modern Latvian music schools. Based on the theory in the history of education, the authors used several methods to study these aspects: performed analysis of the experience gained while studying and later working at a music school; performed comparative analysis of the curriculum of Soviet and modern Latvian music schools; conducted semi-structured interviews with respondents — Latvian musicians who have studied and/or taught both in Latvia and abroad. The initial hypotheses of the study are: too much emphasis is put on developing playing techniques and engaging students in competitions, and less is thought of their musical interests; repertoire is selected rather conservatively, mainly orientating towards 18th–19th-century music; improvisation skills are developed inadequately. The paper discusses the possible ways of transforming these Soviet traditions by using models approved in the musical education of other countries while maintaining the availability and high professional level of music schools in Latvia. The conclusions drawn in this presentation are important for exploring new routes in music education and promoting the interaction of various musical education models approved worldwide.

ABSTRACT. Research in the field of music education has shown that children’s participation in music educational programs may positively impact the development of their cognitive functions. However, there is limited research investigating the impact of teaching specifically music notation on students’ cognitive functions and music understanding. The present paper presents the results of two empirical studies that examined the effects of music intervention programs, based on either standard or graphic music notation, on the executive functions and music understanding of preschool children. Both interventions were teacher-centered, with students being actively engaged in a step-by-step, constructive learning process. For the first study, two music interventions were designed which taught preschoolers basic music principles (notes, pitch, rhythm). Participants were randomly assigned to two groups; one group received music instruction based on standard music notation and the other received instruction based on graphic music notation. Before and after the intervention, participants completed an open-ended questionnaire, assessing their music understanding, and two executive function tasks, measuring working memory and inhibition. In the second study, the same two groups of preschoolers, along with a control group, received music intervention based on standard music notation, to investigate whether the use of the graphic music notation might hinder understanding of standard music notation, which is the universal system for music communication that students should learn anyway. After the intervention, preschoolers participated in music tasks to assess their music understanding. The results from both studies indicated that students in the standard music notation group outperformed students in the graphic music notation group and the control group in most tasks, revealing that music intervention can positively affect cognitive function performance, particularly when based on standard music notation and when introduced at preschool years. The results will be discussed in the context of preschoolers’ cognitive development and the current educational landscape.

ABSTRACT. In this presentation we focus on the role of the digital portfolio as a learning tool for the improvement of teaching and learning and a model for reflection, collaboration, and documentation in the artistic creation of university students. The portfolio links students’ creative thinking to their conceptual frameworks and establishes a process of inquiry through which they can map their learning progress via reflections and graphic representations. Artistic research methodologies are deployed in all artistic specialties. By applying arts-based methods, other forms of expression, narratives, and perspectives also become possible. We report on a study which analyzes the portfolios of 90 students enrolled in a bachelor’s degree in early childhood education at University X. We highlight that the different graphic resources used offer new opportunities to support teaching and learning processes and pose new challenges for students’ personal and professional development. We conclude that arts-based methods are a powerful tool that can be used to go beyond the inherent limitations of language, such as the individual’s cognitive and linguistic abilities, as well as the ability to recognize and reflect.

ABSTRACT. The importance of learning to create an expressive performance is a consistently discussed topic in music education. However, the process by which musicians develop “expressiveness” remains understudied. Drawing on embodied music cognition and constraints-led pedagogies, this study investigated the impact of improvisational theatre as an instructional tool to develop expressive skills in a Higher Music Education context. Over a ten-session course, eight Master students engaged in improvisational theatre techniques, learning to embody fictional characters, a broad range of emotions, and made-up narratives while performing on their instruments. Through these exercises, participants were encouraged to shift focus from technical accuracy—"how can I play this correctly?"—to expressive intention—"what do I want to convey with this piece?". This approach aimed to provide them with novel ways to connect with their repertoire and greater flexibility to adapt their motor behavior to the technical and expressive requirements of each musical piece.

The findings of this research show that, through these embodied experiences, musicians unlocked new ways of moving to, feeling, and understanding their musical repertoire, even leading to new qualities of sound. These explorations ultimately fostered a stronger connection between movement and sound, and underscored the critical role of the body in teaching expressive music performance. Furthermore, they highlight the importance of creating a space for experimentation within formal education, where musicians can move beyond rigid ‘success/failure’ mindsets. In this setting, mistakes and technical accuracy become secondary, allowing performers to break free from learned frameworks and restrictive techniques, ultimately supporting them in developing a confident attitude toward performance and a more personal, authentic expressiveness.

ABSTRACT. Knowledge among practising teachers of the nature of Attention Deficit/Hyperactivity Disorder (ADHD) is minimal, and instilling this knowledge tends to be on the lower end of the priority spectrum in teacher education programs. This lack of attention has come at a cost. Two independent studies reported a less than 50% accuracy in teachers’ knowledge of ADHD, and teacher knowledge of the nature of this neurodivergence worldwide is at best inconsistent. This knowledge gap may be particularly detrimental to music teachers as engagement with music has been shown to interact in unique, positive ways with ADHD symptoms in both therapeutic and in educational settings. Qualitative research into how musicians with ADHD interact uniquely with music is sparse but may provide teachers, scholars and musicians with valuable insight into how music educators might teach music to students with ADHD and what expectations may be appropriately developed for these learners. As part of an ongoing collaborative ethnographic study, a panel of three adult musician/scholar/educators from the United States will discuss and explore some of their social, academic and metacognitive experiences with ADHD. Our discussion will provide insight into how the panel members have perceived and continue to perceive their ADHD symptoms interacting with music as music students, educators, and performers in and outside of the classroom. Discussion will be guided by a set of pre-determined questions including but not limited to:

• To what extent do you feel music had helped you negotiate your neurodivergence academically, socially, and metacognitively?

• If you have found music to be helpful in negotiating the hardships that ADHD presents in your educational career, what aspects of music have you found to be particularly helpful?

• In your opinion, has engaging with music over your lifetime afforded you any long-term benefits when it comes to negotiating ADHD in your daily life?

ABSTRACT. Even though in recent years, music education as a field of practice and research has become more international, AI challenges this development in many ways: Does it support internationalization or establishes a hegemony of Anglo-American ideas and paradigms? Will music education internationally become more “mainstreamed” due to the use of AI? While, aside from the positive effects of internationalization such as learning from each other, the dominance of Anglo-American concepts has been a challenge in music education globally, an increased awareness concerning issues of hegemony and diversity, aiming at a culturally sensitive internationalization of music education, is now part of many discourses. Concerning AI, the question might indeed be if it supports or challenges the internationalization of music education in a culturally sensitive way, and how AI can be effectively integrated in music teacher education, as one significant part of music education. This presentation utilizes the revision of an online course at a German university as a case study to explore how to create learning opportunities for future music teachers to enable them to use AI effectively in their teaching. The chapter tries to answer the following questions: What discussions are necessary in music teacher education, nationally and internationally, regarding the integration of AI in the curriculum? What is the impact of the integration of AI in an online course in music education regarding students' ability to use digital media effectively in their teaching practice? What role does AI play in facilitating the understanding of digital tools for music education among students? The chapter also addresses issues of internationalization in music education and teacher education with a focus on AI.

ABSTRACT. Artificial Intelligence (AI) challenges the notion that communication is solely human, enabling interactions between humans and machines. This change reflects the broader evolution of literacy in today’s rapidly changing technological landscape (Ng et al., 2021). The term “literacy” originates from the Latin word littera, meaning the ability to read and write (McBride, 2015). While traditionally rooted in these foundational skills, literacy has expanded to encompass various new competencies crucial for success in the digital age, including media, digital, and information literacy (Ng et al., 2021). Among these emerging literacies, AI literacy is particularly vital, equipping individuals to effectively engage with and leverage AI technologies in an evermore AI-driven society (Shah, 2023).

For music teachers, developing AI literacy is essential in today’s technology-driven educational landscape. In response, I have created a Quadruple Framework for AI Literacy tailored for music educators. This framework includes: (a) understanding AI, (b) applying AI, (c) evaluating AI, and (d) considering AI ethics. In a music methods course (Fall 2024, ongoing), preservice teachers discuss AI concepts, engage in hands-on AI activities, create lesson plans using AI tools, and critically examine the ethical implications of AI in music education. In this presentation, I will share insights from 14 preservice music teachers who engaged with this framework over five weeks, using data collected from reflections, lesson plans, and group/individual interviews. These findings will contribute to the field by showcasing research-backed strategies for integrating AI literacy in music education, ultimately enhancing teaching practices and preparing future educators to handle the complexities of AI in their classrooms.

ABSTRACT. Creative education in the 21st century features the myopic centering of the human, where humans center themselves as the dominant species, entitled to access all other bodies. Central to this centering is the notion of difference as pejoration, where difference and otherness are viewed as inferior. Such inclinations to erode difference result in dualistic thinking, which limit understandings of music and of the world. Constructs of difference as negative have also had profound impacts on music education, as they undergird issues of social justice and equity such as ableism and racism. New materialist writings on the concept of diffraction may provide an opportunity to reframe how we think of difference as positive; difference emerges as an effect of connections and relations within and between bodies. Music educators could seek to affirm difference as positive by decentering humans in music education and recognizing that all bodies are part of the world in its differential becoming. Building on Karen Barad and Donna Haraway’s concept of diffraction, I propose that cellists could decenter themselves and reframe how they might listen responsibly through diffractive listening, a form of embodied listening which involves being attentive to the sounds of our own bodies and the bodies of others, in and out of time. By playing with different ways to listen in and through time and space with a plurality of bodies, diffractive listening could be facilitated in cello lessons as a diffractive mode of analysis to investigate acoustic sound itself a physical diffraction phenomenon. In this paper, I share the results from phase one of a phenomenological study that investigates how a cello student experienced becoming-cellist through diffractive listening; such listening decentered the human cellist, disrupted linear progressions of time, and challenged conventional ontological separations between real and imagined sounds. More details of these findings will be addressed in the paper.

ABSTRACT. While work on musical creativities research has over the years become predominant in educational and social science research methodology literature, my reading indicates that there is still important conceptual expansion work to do in order to understand how materialities and distributed agencies meet and make-with music. So, what does it mean when musical creativities feature distributed agencies are made between human, more-than-human and nonhuman entities? In this talk, I offer a research assemblage of encounters informed by Deleuze and Guattari's concepts of ‘cartography’, Bennett’s concept of ‘thing-power’, Barad’s concepts of ‘making-with’ and the focus on the material world, which includes human and nonhuman bodies. Unlike conventional, humanist systems of thought that assume that matter is (and things are) inherently separated, inert and passive, I will argue for and play with how cohabiting the posthuman plurality and political possibility of musical creativities becomes paramount. Using diffractive analysis, I introduce the work of Bjork (a hyperanalytical artist sonic needleworker), Lisa Lim (contemporary composer whose music focuses on collaborative, transcultural and multispecies practices), and Kate Stone (CEO of award wining social enterprise Novalia which builds cutting-edge sensory multi-touch digital and physical environments, objects and journeys that adds multitouch to everyday surfaces that you can sound).

ABSTRACT. Recent critical music education scholarship affirms the importance of student voice within music ensembles as a way to foster equitable, representative, and inclusive music making spaces. And yet, this scholarship also laments the challenges of generating such spaces due to hierarchical models of ensembles rooted in Eurocentric musical traditions, and its colonial reach. Utilizing data gathered in a participatory research project with Israeli and Palestinian former staff and students of music education-dialogue programs, I argue for the necessity of exploring issues of voice and agency within music ensembles through participatory methods, specifically the affordances of using the method of photovoice. These participatory methods can enable the necessary subversive conditions to voice and imagine alternatives. Such subversive conditions are met through challenging established hierarchies of power to support identity representations and presentations encompassed in student voicing, in addition to musical epistemologies, both of which are suppressed by the purposeful (and unaware) implementation of Eurocentric hierarchical models within ensembles.

Over several months within a broader, ten-month research project, co-researchers and I used photovoice to analyze the multicultural musicking practices of an Israeli-Palestinian youth choir. Photovoice, an underutilized participatory research method in the field of music education, combines a critical analysis of photography and dialogue to challenge harmful dominant discourses and foster meaningful change within communities. Through the analysis of photos taken of the choir, we developed and utilized an intersectional tool of gender, sexual orientation, ethnicity, and religious affiliation to investigate issues of power, identity, and representation to understand the influence and effect of Eurocentric dominated epistemologies on music teaching and learning practices. Assertions of this research gathered through participatory and narrative voicing indicate the need for multicultural youth choirs to engage in participatory methods of inquiry and generate contextual intersectional frameworks of analysis leading to curricula and policies designed for equity.

ABSTRACT. Enabling learners to participate in societal life is a core aim of general education in many European education systems. Key positions on democracy education and participation include Dewey's (1916) expanded concept of democracy as a communal way of life, Freire’s (2000) pedagogy of the oppressed as a starting point for critique and resistance, and Biesta's (2023) world-centered approach as part of enlightenment. These concepts are specified in the discourse in music education (e.g. Woodford, 2005; Allsup, 2007; Dunkel & Oeftering, 2023). Despite these theoretical discussions, detailed empirical findings on democratic actions and learning through music are rare. Our study examines how music education students experience democracy education and participation in their daily lives and discuss the topic with regard to their future professional practice. Using the documentary method (Bohnsack et al., 2013), we analyze group discussions from workshops on democracy and music education in Belgium, Germany, Slovenia and Sweden. After a warm-up, the workshops encouraged self-reflection on the students' experience of democracy and participation. First findings from these group discussions reveal discrepancies between students' democratic ideals and their daily actions in music academies or universities – for example, when it comes to their involvement in the conservatoire, in the student representation bodies, or their ideas of an ideal music teacher. The still ongoing comparison of perspectives from four European countries will shed light on homologies and differences related to regional traditions and contexts. Finally, we discuss how our findings can contribute to the development of university curricula and learning offers. Empirical insights can help to design learning offers that build on students’ prior knowledge and take into account connections and differences of students’ perspectives to the academic discourse.

ABSTRACT. In many parts of the world mainstream schools accommodate learners with different abilities. For the past decades, inclusive pedagogies have been discussed in the field of education, based on the idea that all learners differ. Successful inclusive educational settings should provide many opportunities for learning, through teaching strategies and activities designed to match the way participants learn. The many possibilities in teaching and learning offered by Music as a subject, allows educators to design and choose activities that motivate and engage their students meaningfully. Focus on individual learner profiles leads to the design and implementation of new teaching strategies, which may in the end benefit all learners.

This paper discusses findings from a research study which explored the school musical experiences of an autistic child attending the preschool mainstream class of a private kindergarten in Cyprus. The theories framing the research were Jellison’s five characteristics of inclusive music classrooms, the principles of Universal Design for Learning, the Sounds of Intent framework, and Bronfenbrenner’s ecological system theory. A case study methodology was implemented. Data was collected through observations of music and non-music subjects, interviews with educators and with the child’s mother, and an open-ended questionnaire sent to principals of private elementary schools in Cyprus. Through thematic analysis the data were mapped on the abovementioned theories, which were synthesised to develop a framework. A new research and educational tool emerged and was proposed: the Model of Musical Development in Inclusive Education (MMDIE). For the purposes of the current presentation, several musical activities observed in the study will be discussed using the MMDIE in terms of teaching and learning in an inclusive educational setting.

ABSTRACT. There is a distinct lack of research-informed music education discussion focusing on pedagogy led by Generalist Teachers in Special Schools (GTSS), including how teachers approach and feel about this aspect of their practice. Much of the available research that connects disability and music is difficult for GTSS to access, interpret and use in the classroom. It is often conducted within the fields of music therapy, music psychology and neuroscience, and not music education focusing on pedagogy, and in particular not music education focusing on SEND (Special Educational Needs and Disabilities) music pedagogy. Where research documents effective approaches to practical music teaching, it is not always specific enough to address the degree of severe or profound learning difficulty of pupils who typically attend special schools in the UK. This research examined the efficacy of a CPD (Continuing Professional Development) model in SEND music in a primary special school in the UK, designed to support GTSS participants to acquire the music subject knowledge and classroom musicianship skills to teach music, as musicians. Findings revealed a set of core music teaching competencies that GTSS require in order to develop the Pedagogical Content Knowledge (PCK) that equips them to teach SEND music effectively. Drawing upon general SEND teaching strategies and approaches that were familiar to participants, such as sensory stories, had a significant impact upon their developing SEND music pedagogy. Whilst participants’ developing SEND music pedagogy mirrored aspects of EY music pedagogy, some key differences set the two apart, revealing the highly specialist nature of SEND music teaching and the bespoke training needs of GTSS in this area.

ABSTRACT. It is well known that music educators in the U.S. do not receive sufficient preservice pedagogical training in accessible music education, or how to teach music in a way that reaches all learners. One reason for this is the fact that there simply is not space in the curriculum to add more courses, such as a course in accessible music education pedagogy. In the U.S., music education majors already take more credits than most other college students, because of the requirements imposed by State educator licensure and regional accrediting organizations. While most higher education institutions do offer a course related to “special learners,” that course usually takes the form of a study of legal history and special education regulations. The course does not address effective pedagogy for teaching students with disabilities. However, teaching with accessibility in mind makes one a better teacher. To borrow a phrase from Universal Design for Learning (UDL), accessible music education practices are necessary for some, and helpful for all. Music educators who employ accessible music education pedagogy report that they are better teachers for all of their students, not just their students with disabilities and diagnoses. It therefore behooves our higher education music teacher preparation programs to provide our students with the tools that they need to make their teaching accessible. This workshop will share some ways that key elements and practices of accessible music education pedagogy can be infused into the existing methods courses of music teacher preparation programs. These include Universal Design for Learning, Differentiated Instruction, and evidence-based strategies from Special Education. Incorporating these pedagogical approaches can help to ensure that the next generation of music educators has the tools and support that they need to make music education truly accessible for their students.

ABSTRACT. This presentation examines the experiences of deep learning among electric guitar and bass students in Norwegian upper secondary schools, focusing on collaborative music-making across formal, informal, and non-formal learning domains associated with the music program. Deep learning is understood across students’ cognitive, affective, social, embodied, and performative experiences, encompassing both meaningful learning and transfer of learning.

Understanding knowledge as interconnected below the surface draws inspiration from mycorrhizal networks, which serve as a metaphor for deep learning as an entangled, evolving process that extends beyond surface knowledge. This metaphor illustrates how knowledge and skills transfer across different learning contexts and adapt to students’ personal and collective experiences, emphasizing collaborative music-making as vital for deep, sustained learning.

Empirical material was generated through participatory observation and semi-structured interviews with nine students, offering insights into the role of collaborative music-making within diverse ensemble settings, including teacher-led ensembles at school and more peer-oriented contexts such as garage bands and jam sessions. Students’ experiences reveal jazz as a central genre within the music program, influencing their learning pathways but also illustrating a tension between formal, structured approaches to music learning and the freer practices of genres like punk and metal. Many students noted frustrations with formal ensemble classes, describing restrictive structures that limited their engagement and flexibility in collaborative music-making.

This study contributes to the discourse on deep learning in music education by illustrating how understanding deep learning across multiple dimensions has the potential to inform educational policies that foster engaging, inclusive, and context-sensitive music education. By applying this theoretical perspective to music-making practices, the research demonstrates how such policies could better align music programs with students' varied motivations and backgrounds, preparing them for the demands of a complex, interconnected musical landscape.

ABSTRACT. Previous research has indicated that students actively participate in music learning when their musical preferences are acknowledged; often, it is well-known popular music. In contrast, the previously established Western canon of classical art music tends to alienate students from musical learning in a classroom setting. However, according to the Department of Education, students should acquire a rich and well-rounded music curriculum that covers a range of historical styles and genres, where at least one area of study should be from the Western Classical Tradition. Thus far, research has not yet examined employing students' musical preferences of popular music in learning less-familiar music genres, such as classical art music.

This paper aims to examine the theoretical framework of studying the unknown through the known, extracted from the Generative Theory of Musical Learning and applied through the lens of the Comparative Music Model to provide a picture of the musical genres' interconnection which could benefit students' engagement with further music studies, such as Music GCSE.

This investigation employs a qualitative grounded theory approach. The methodology section consists of three studies. Each study aims to inform the next stage of research. Study 1: semi-structured interviews with 12 music teachers about their teaching practices and a questionnaire with 13 music GCSE students regarding their music education. Study 2: a pilot study testing the combined frameworks of Boardman (1989) and Hess (2015), employing the field notes method. Study 3: case studies in one secondary school researching students' perception of the teaching and learning of unknown classical art through known popular music.

This thesis explores how teaching and learning classical music through popular music can benefit students in broadening their musical knowledge while not failing to recognise their musical preferences, a potential method for classroom music teachers. I will present the paper's overall research results.

ABSTRACT. This research innovates the Live Project-Based Learning (LivePBL) Hybrid Service Learning Model, applied at Beijing City Library to train pre-service music teachers through immersive community engagement. Situated in the library’s architecturally rich and culturally vibrant setting, LivePBL connects aspiring music educators with local community members, fostering a shared appreciation for music aesthetics and cultural values through vocal education.

Research Gaps In China, or perhaps the worldwide, the current music education programs often lack structured frameworks for community and cultural engagement, which are critical for music education that is responsive to diverse societal needs. As China experiences rapid economic growth, there is a growing need to bridge academic learning with civic responsibility and cultural enrichment. Traditional models in teacher education frequently do not equip students with the skills necessary to engage meaningfully with communities in culturally relevant ways. LivePBL addresses these gaps by offering a model that integrates service learning with real-world engagement in music education.

Research Areas This study focuses on music education within a hybrid service-learning framework, designed to develop pre-service teachers’ competencies in teaching, public engagement, and cultural sensitivity. The LivePBL program enriches community members’ understanding of music while reinforcing the library’s role as a center for cultural and aesthetic learning.

Research Method Using the DEEP framework—Direction, Education, Event, and Project—the LivePBL model guides learning through structured workshops, live performances, and reflective sessions. The library’s engaging setting enhances this experiential, collaborative approach to music education, providing a dynamic environment for both students and community members.

Research Outcomes The project demonstrates the effectiveness of the LivePBL model in fostering community-centered music education. Feedback highlights an increased appreciation for music aesthetics within the community, while pre-service teachers report substantial growth in designing and implementing culturally responsive teaching practices. This case study provides a replicable model for embedding music education within community service, offering a pathway for training culturally aware educators and fostering enriched, inclusive cultural experiences.

ABSTRACT. In recent decades, European universities have been confronted with a prevailing perception of an inexorable global knowledge economy on the horizon. The Lisbon Strategy of the European Union (European Commission, 2005; Bergen Communiqué, 2005) garnered the endorsement of national governments in order to promote the notion that universities should play a pivotal role in enhancing both national and European competitiveness. This could be achieved by generating two essential components for the cultural capital: music knowledge, which could be translated into innovation, and graduates who possess the necessary skills to function as knowledge art workers. Prior studies (Ski-Berg, 2017; Carfoot et al., 2017) have focused narrowly on specific programs within limited geographic areas. However, there is minimal quantitative mapping of initiatives across institutions and regions. Contextual insights explaining regional variations are also scarce. Considering the aforementioned, we will focus on two main aspects: the significant contributions that music university departments may make in shaping the cultural futures of Europe (Reich & Reich, 2006) and the ways in which they actively address the serious challenges that lie ahead. The study aims to address these gaps by conducting a comprehensive analysis of interdisciplinary programs and partnerships across leading global music institutions (Gupta, 2019; Berklee College of Music, 2022; Zhang, Sun & Sun, 2023; Scopus, 2023) using a mixed methods approach. Additionally, it will examine the necessary forms of governance that music university departments would need to assume in order to effectively address the challenges anticipated in this future characterised by crises. The findings reveal significant diversity in interdisciplinary education practices (Timonen, 2021) and formats worldwide, implying a need for contextualized implementation aligned to institutional strengths rather than a one-size-fits-all approach. Therefore, as music education evolves, tailored strategies that blend local priorities with global best practices are recommended to creatively nurture multifaceted skills and maximize potential for innovation. Thus, this research contributes an invaluable knowledge base to inform evidence-based, nimble policies and frameworks for cultivating cutting-edge, socially engaged musicians and ventures.

ABSTRACT. Student racial and ethnic diversity is growing in the United States, but many educators are not sufficiently equipped to teach Asian, Black, Indigenous, Latine, and Pacific Islander students. This issue also affects choral educators, who are typically trained in a Eurocentric paradigm that prioritizes Western classical music and bel canto vocal technique. Students from diverse musical backgrounds may experience Eurocentrism as cultural assimilation, leading to feelings of marginalization, silencing, and exclusion. Choral educators with multiple musical-cultural competencies who adopt a multi-centric teaching approach have the skills to honor rather than suppress their students’ musical identities. This approach aligns with the theory of culturally sustaining pedagogy (CSP) (Paris, 2012), which embraces cultural and linguistic plurality in education. This multicase study included two predominantly Black public schools and one predominantly White private school to explore how multi-musical choral educators enacted CSP and their students’ perceptions of their teaching. Three choral educators—two Black and one White—and 13 students of Indigenous, Latine, Black, and White identities participated. Data collection involved observations and interviews, with findings that highlighted the importance of musical cultures, cultural dexterity, and relationships in the enactment of CSP. The teachers with a greater number of musical-cultural proficiencies exhibited increased use of aspects of CSP, such as supporting and expanding students’ cultural knowledge, utilizing their ways of knowing, fostering critical consciousness, and emphasizing community and positive relationships. This corroborates previous research on CSP vocal educators, and contrasts with prior studies on monocultural teachers and their students’ experiences of silencing. The findings suggest a need for choral educator preparation that incorporates CSP enactment and expansion of the recruitment of diverse and multi-musical teachers. There are also implications that a shift from Eurocentrism to multi-centrism which contextualizes the Western paradigm as one of the myriad ways of knowing music is warranted.

References Paris, D. (2012). Culturally sustaining pedagogy: A needed change in stance, terminology,and practice. Educational Researcher, 41(3), 93–97. https://doi.org/gcv663

ABSTRACT. This qualitative, phenomonological study identifies and compares students’ and one teacher’s perceptions of engagement and disengagement in a U.S. cross-cultural choral classroom. Eight racially diverse 7th grade choir students and their teacher were interviewed to determine their perceptions of conditions that supported (dis)engagement and of behaviors that signaled (dis)engagement. The researcher examined the effects of (dis)engagement in the classroom using both individual interviews and focus groups. The researcher compared students’ responses to those of their teacher using open and axial coding, member checks, and memoing. The researcher used the six prongs of Ladson-Billings’ Culturally Sustaining Pedagogy as the dominant theoretical framework. The students identified the strong, positive, mutually reciprocated relationship between themselves and their choir teacher as foundational to deep engagement. The cultural competence of the teacher and her openness to learning from her students supported this relationship. During periods of disengagement, students’ behaviors were interpreted in different ways by the teacher and by their classmates, based on cultural expectations. The effects of student engagement included positive flow in classroom sequences, heightened musical achievement, positive mood contagion, group unity/connectedness, and continued positive levels of engagement. Disengagement resulted in a disrupted classroom flow, teacher frustration, teacher instructional interventions including “behavior talk,” negative mood contagion, fractured group relationships, and continued disengagement. The students identified the strong, positive, mutually reciprocated relationship with their choir teacher as foundational to deep engagement. However, pedagogical moves made by their teacher sometimes resulted in cognitive and behavioral disengagement. Students’ perceptions of classroom pedagogy aligned strongly with Culturally Relevant Pedagogy, notably in the areas of teachers’ conceptions of self/others, conceptions of social relationships, and conceptions of knowledge. Resulting implications include the need for teachers who can provide Culturally Relevant Pedagogy, supporting high levels of student learning autonomy, situated in a context of strong teacher-student and student-student relationships.

ABSTRACT. Sensory Musicking (SM) is an approach to music education designed to foster meaningful and inclusive musical experiences for teachers and learners of diverse backgrounds, needs, and abilities. Inspired by the sensory theatre work of Oily Cart for and with disabled children and young people, SM occupies a unique space between music performance and teaching. It promotes multisensory and interactive experiences, blending elements of song, improvisation, storytelling, and the use of sensory materials (e.g., scarves, mirrors, bubbles, scents) to deepen engagement. Through SM, participants are invited to explore music in a dynamic, participatory environment that responds to their individual sensory and creative needs, making music learning and participation both inclusive and transformative. Over the last two years, I have developed SM experiences collaboratively with pre-service student teachers. We engaged young children with and without disabilities in mainstream and special education classes at a local primary school with these experiences. In this presentation I will detail how sensory musicking experiences can be developed (structure, aims, teaching methods), and what makes SM an inclusive pedagogical approach. I will conclude the presentation with recommendations on how musicians and educators can be trained in SM advocating for creating hands-on, person-centred and participant-led music learning and participation experiences within flexible structures. Furthermore, I advocate for music leadership that promotes co-creation and where participants are regarded as experts in their own learning.

ABSTRACT. This paper focuses on an 18 year old neurodivergent student who explores the benefits of music making for her own well-being and the well-being of younger students through rehearsing and performing. The research project ran for 8 months, during which students aged 11-14 attended twice weekly choir rehearsals led by the sixth former. Primary research was conducted with younger students and their parents at the concert, whilst interviews were also conducted with the school’s SENCo and industry professionals to assess the impact of musical activities. The findings echo existing research into the positive effects of musicking for students with Autistic Spectrum disorder, but also reveal insights into the learning process for the student leader who has complex learning needs and is registered disabled. In the paper presentation, the student will analyse the challenges she faced in running a choir and organising a concert with neurodivergent students, revealing the benefits for all. Furthermore, this study also highlights the importance of mainstream schools adopting an inclusive approach to musical rehearsal and performance for students who may otherwise be sidelined at public events. Our findings suggest that the benefits not only support the musical development of these students, but also point towards the importance of a music department offering a safe space for neurodivergent students of all ages. This raises questions about the need for music provision to be more inclusive and challenges school leadership teams to reconsider how the achievements of neurodiverse students are celebrated in public settings. Our presentation will include video testimonials from the student leader and industry professionals, demonstrating that an inclusive approach to music making can be a powerful tool for personal development.

ABSTRACT. As I am at the data collection stage of this research project, I will present a brief literature review and methodology for this conference. This research will seek to re-frame the notion of flow experience (Csikszentmihalyi, 1990;1997;2013;2014). Flow experience occurs when one is fully immersed in an absorbing enjoyable task and can result in high levels of cognitive functioning. I aim to use a mixed methods study design, combining quantitative and qualitative means of data collection and analysis. I will start with the hypothesis of what flow may look like for neurotypical and autistic children. This will involve examining repetitive musical behaviours from 25 autistic children and 25 neurotypical children and mapping behaviours onto the conceptual theory of flow and measuring the frequency of these behaviours. Four case studies of autistic children and four case studies of neurotypical children engaging in flow experience in a musical and non-musical context will then be conducted. A combination of top down and bottom-up approaches will be used to gather rich and varied perspectives of trying to understand the phenomenon of flow. I will be mapping behaviours observed in the data collection onto theories of flow experience, zygonic theory, which seeks to explain how music intuitively and cognitively makes sense to us all, and the Sounds of Intent Framework, which offers a model of musical development. Beyond this study, the hope is the findings will lead to the generation of new pedagogical strategies that could positively impact autistic children's lives and challenge societal views of repetitive behaviours for autistic children.

ABSTRACT. Ghanaian children predominately make music through participatory and informal means, through observation and engagement in play songs, storytelling, body percussion and dancing games However, a lot remains to be discovered about children’s natural talent and potentials, some of which parents, guardians and music educators underrate, do not notice unconsciously or suppress. I examine the imposition of music making ideas within music instructional practices which reflects a form of colonialism that often overlook the significance of these playground music-making in the music classroom.

I use Young Bruehl's Childhism and Paulo Freire Pedagogy of the Oppressed as frameworks to address the impact of imposing rigid music making ideologies in classrooms to argue that playground music making reinforces children’s solace, safety, and sense of identity acknowledging the importance of fostering a supportive space where children can freely express themselves musically. This paper urges Ghanaian music educators to focus on the musicking that creates a web of relationships between, and among, musical sounds and people situated in the physical and cultural space to emphasize contextual essence of music-making, reflecting the informal nature of children's musical expressions.

This paper seeks to address two research questions: What pedagogical values Ware embedded in Ghanaian children's playground experiences? How can Ghanaian music educators creatively transform school music by integrating children's playground experiences in the classroom? It is my hope in this paper to remind Ghanaian music educators what is unsettling about colonialism and challenge the imposition of western musical ideologies on Ghanaian students in the music classroom.

ABSTRACT. As is the case in many countries, school music education in Canada has strong roots in European performance practice and has remained relatively unchanged since its introduction (Shand, 1982). In spite of the diversity of peoples, histories, cultures, and contemporary musical practices found in every Canadian community, music education generally looks remarkably similar. In order to address the ways that music curricula can serve as a colonizing force (Hess, 2015), this research explores the potential of a locally developed and enacted music education for decolonizing and Indigenizing music teaching and learning. The proposed paper presentation reports on the first stage of a study that explores a local music education. Participants/co-researchers in the study consisted of (1) school music educators and members of the local arts community including (2) Indigenous and settler musicians from various music scenes and (3) representatives of local cultural institutions and organizations. as As the desired outcome was to produce useable knowledge to transform practice, Design-Based Experimental Research (DBER), served as both the conceptual framework and methodological approach (Cobb, 2012; McKenney & Reeves, 2014, 2019; Plomp & Nieveen, 2013; van den Akker et al. 2006). The objectives for this study were to: 1. Co-construct a framework for a localized decolonizing music education in collaboration with local music educators and community partners; 2. Understand barriers to decolonizing music education experienced by settler and BIPOC music educators in a specific context.

Through a series of workshops and focus group meetings, participants/co-researchers created a guiding framework of principles and practices for centering local music practices from their community. Data consisted of workshop, focus group, and individual interview transcripts, and journals. Significant insights of team members will be shared along with principles for a local music pedagogy. Plans for piloting the framework will also be shared. [295 words]

References Cobb, P. (2012). Conducting teaching experiments in collaboration with teachers. In Handbook of research design in mathematics and science education (pp. 307-333). Routledge.

Hess, J. (2015). Decolonizing music education: Moving beyond tokenism. International Journal of Music Education, 33(3), 336–347. DOI: 10.1177/0255761415581283

McKenney, S. & Reeves, T. (2019). Conducting Educational Design Research. Routledge.

Plomp, T. & Nieveen, N. (2013). An introduction to educational design research. Netherlands Institute for Curriculum Development.

Shand, P. (1982). Music Education in Canada PART I: The Status of Music Education in Canada. Canadian Music Educator, 25(3), 18–30. Shandarticle007.pdf

Van den Akker, J., Gravemeijer, K., McKenney, S., & Nieveen, N. (2006). Educational Design Research. Taylor & Francis Group. http://ebookcentral.proquest.com/lib/umanitoba/detail.action?docID=274476

ABSTRACT. Uganda implements a school-based education system inherited from its colonial masters, the British. Shaped by this colonial legacy, music education in schools continues to exhibit Western dominance in terms of curriculum and pedagogical approaches at the expense of indigenous music traditions and practices. How might decolonization be useful in this context? This likely depends on exactly what one means by “decolonization” and the particular concepts and strategies applied. This paper will offer an overview of various approaches to decolonization and how they have been considered with respect to topics related to music education in Uganda. The analysis will be informed by a scoping literature review that examines scholarly works such as journal articles, conference proceedings, books, book chapters, and policy documents, published between 2000 and 2024. The review focuses on efforts to decolonize music education practices to promote meaningful and equitable education. It identifies key issues like the effect of colonialism on music education and the recent emergency of colonial initiatives in the educational landscape in Uganda. The presentation synthesizes research results from two complementary studies that investigate decolonization of music education in Uganda: a scoping review of previous literature, and a philosophical study of competing views of decolonization. The synthesis contributes to a deeper understanding of the challenges and opportunities of decolonizing music education, it informs education policy and practice in Uganda and acts as an eye-opener for future research.

ABSTRACT. The Artists’ Care project is a collaboration with three partner organisations who provide music and creative arts projects in challenging and complex settings – Good Vibrations, Irene Taylor Trust, and Hear Me Out - and two research organisations with specialisms in researching arts projects in such settings – the Royal Northern College of Music and the University of Wolverhampton. The project seeks to build on research outlining the need for care and support for artists’ working in such settings and how this might be structured, to understand how Artists’ Care programmes can be embedded into organisational structures.

Following a rapid evidence assessment exploring how care and supervision are structured in non-arts based health and social care organisations, three in-depth ethnographies of the partner organisations were conducted to understand what they currently offer in relation to support and supervision, the organisational structures and strategies that might support Artists’ Care programmes, and the current routines of the artists working for these charities. The findings of the rapid evidence assessment will be applied to the ethnographies to design a bespoke Artists’ Care programme for each organisation to be tested and evaluated through Action Research.

To build the ethnographies, data were collected via observation, field notes, interviews with managers, operational staff and artists, and five artists per organisation were invited to keep a diary over three months to document the ways that they prepare for work in challenging and complex settings.

This paper presents some initial findings from those ethnographies related to the lived experience of these artists, who identify as community musicians. Centred around three themes, we will explore the experiences in relation to:

• Imposter syndrome (artistic identity) • Respectful remuneration (tensions between activism and professionalism) • Beautiful art (what it does to others)