ABSTRACT. This presentation seeks to demonstrate how a combination of stimulated recall and collaborative autoethnographic strategies can be applied to artistic and scholarly work at the intersection of ethnomusicology and artistic research. Building on recently collected material from fieldwork in Vietnam, the presentation also refers to the long-term method development within the Vietnamese/Swedish group The Six Tones, of which Östersjö is a founding member. The discussion centers around the inter-subjective forms of stimulated recall analysis, developed through the creative work of this innovative intercultural music ensemble. In “Shared Listenings” (2023), Östersjö, along with three more researchers from the Musical Transformations project, argue that these methods may form part of developing a decolonized methodology—for both music performance and research. The central argument is built on how the artistic research practice of The Six Tones was successfully shared with three master performers in the south of Vietnam as part of Musical Transformations in 2018–2019. In the final discussion, the perspective is widened to Higher Music Education, providing some examples of how similar methods have been used by students in degree projects in Music performance. It will be argued that the artistic research practices presented has potential for renewal in HME curricula, as discussed in the recent edited book ‘Teaching Music Performance in Higher Education: Exploring the Potential of Artistic Research´(Minors et al., 2024).

Musical Transformations is an international research project, funded by the Marcus and Amalia Wallenberg foundation, concerned with the ways musical change can be related to processes of transculturation. The project has studied the dynamic history and contemporary performance practices of Vọng Cổ, a song which has undergone a radical set of transformations since the 1920s. Its syncretic history also pertains to the development of the Vietnamese guitar, and this chapter seeks to outline the connections between processes of transculturation and urbanization, and specifically the duality between tradition and modernity they involve. The Musical Transformations project seeks to develop decolonizing methods for music research, and uses stimulated recall of video documentation of artistic process as a means. Hereby, the project aims to include the perspective of each participating musician in the analysis, seeking intersubjective and collaborative approaches to the emic-etic problem of ethnomusicological research. In the first phase of the project, set in the Mekong delta and the city of Sài Gòn, The Six Tones invited masters of Tài Tử, a form of chamber music which is discussed further below, to document versions of the Vọng Cổ, and also to experiment with the tradition and create new versions of the song. This work was carried out in recording studios in Sài Gòn, and resulted in an album which features Phạm Công Tỵ, Phạm Văn Môn and Huỳnh Tuấn, together with The Six Tones.

ABSTRACT. As advancements in artificial intelligence (AI) reshape educational paradigms, this study explores the integration of AI-enhanced systems into university vocal music education, with a focus on the effectiveness of AI in improving the quality of vocal music teaching and enhancing students' learning experience. The purpose of this study is two-fold: to explore the integration of AI tools in university-level vocal music education and to evaluate their effectiveness in enhancing students' technical and expressive abilities. Using a mixed-methods approach, the study involved 101 students and focused on four key case studies: improving pitch accuracy, rhythm consistency, emotional expression, and building confidence through personalized learning pathways. Assessments were conducted at three stages—initial, midpoint, and final—employing a combination of AI-based tools, teacher observations, and self-reported feedback. Findings indicate that AI tools significantly enhanced technical skills such as pitch accuracy and rhythm consistency, aligning with prior studies on the benefits of real-time, personalized feedback in music education. Instructor interviews further illuminated the pedagogical implications of integrating AI into vocal training. Teachers observed substantial progress in students' vocal technical abilities and self-confidence while emphasizing the need for a balanced approach that combines AI tools with traditional instruction. This study underscores the transformative potential of AI in music education, offering practical insights into its integration while addressing limitations and paving the way for future research to optimize AI's role in fostering holistic musical development. The study adopts a theoretical framework combining constructivist learning theory, experiential learning theory, and the Technological Pedagogical Content Knowledge (TPACK) model. These frameworks collectively emphasize active, personalized, and student-centered learning, experiential improvement through feedback, and the seamless integration of AI technology with pedagogy and content. The conclusion of this study is that AI integration significantly enhances students' motivation for music practice, confidence in singing, and perceived course quality.

ABSTRACT. Cantonese opera is a significant traditional Chinese theatre form, flourishing in Guangdong, Hong Kong, Macau, and in overseas communities with Cantonese-speaking populations. It embodies the cultural values and folk customs of these regions and serves as an essential foundation for cultural and national identity (Leung, 2024). In recent years, university-community Cantonese opera projects have been promoted across Guangdong Province to integrate this art form into higher music education. However, the college students participating in these projects have already acquired systematic knowledge of Western classical music. Therefore, their experience learning Cantonese opera may differ from, or even conflict with, their previous Western music training.

This study explored the benefits and challenges faced by 17 postgraduate students with Western classical music backgrounds during a one-year Cantonese opera program collaboratively established by a university and a local community in Guangzhou, China. Through participant observation and semi-structured interviews, the findings indicated that students gained a foundational knowledge of Cantonese opera practice and theory and developed a growing interest in its research, teaching, and learning. However, they also encountered challenges, such as the inherent complexity of Cantonese opera, the dilemmas faced by Cantonese opera teachers in navigating their instructional roles, and the disconnection between the university and the community.

The findings were interpreted using the literature and the Twelve Continuum Transmission Framework (Schippers, 2010, 2024), revealing two key implications. First, a hybrid pedagogical model is needed to effectively integrate traditional oral transmission methods with structured, analytical approaches familiar to students trained in Western classical music. Second, fostering long-term collaborations between universities and communities is essential for the sustainable development of Cantonese opera education. These insights provide valuable recommendations for integrating traditional music forms into modern educational settings.

ABSTRACT. Situated within the context of primary level schooling in Ireland, this paper examines the complex issue of primary teacher confidence and the teaching of formal musical skills. Despite an abundance of research on primary teacher confidence and issues of self-efficacy in the teaching of music, studies have yet to investigate a) the potential of accessible, digital resources and innovative approaches in the teaching of music literacy as a means of addressing the issue of teacher confidence b) the pivotal role that primary teachers can play as pedagogical consultants in the development of digital resources, and c) the impact a new approach to the teaching of music literacy can play in developing teacher confidence and self-efficacy in the teaching of music and in pupils’ musical development. This paper will explore the potential that innovative, pedagogical resources and approaches to the teaching and learning of formal musical knowledge and skills (defined in this context as music literacy) within Irish primary education, can enhance primary teachers’ self-efficacy in music teaching with the ultimate aim of sustainable musical development in pupils. In particular, the paper will report on the pilot phase of a study designed to create accessible music literacy materials for teachers and children without the need for prior musical knowledge. Two groups of participants are part of this phase, generalist primary teachers and students 5th class Mixed methodologies will be employed during this phase. Quantitative data will chart progress in the music-literacy levels of children across a period of time and qualitative data will reveal responses from teachers and students to the process of working with new materials in the classroom. It is envisaged that preliminary findings will highlight themes in the extant literature and an evidence base for accessible materials as enablers of sustainability and progression in primary music education.

ABSTRACT. Music teachers have reported feeling unprepared to teach English Language Learners (ELLs) in their classrooms. There is little extant empirical research exploring the perspectives music teachers who teach ELLs and a lack of understanding of what linguistically responsive classrooms look like in music education contexts. Linguistically responsive teaching (LRT) includes teacher orientations (e.g. sociolinguistic consciousness, valuing linguistic diversity) and specific knowledge and skill sets (e.g. scaffolding instruction, identifying language demands of classroom activities). The purpose of this research in progress is to explore the perspectives of elementary general music teachers who work in schools with high concentrations of ELLs (20% or more). Specific research questions are: a) How do elementary general music teachers perceive their preparation and current levels of support for teaching ELLs, b) What instructional and curricular strategies do elementary music teachers employ to meet the needs of ELLs? and c) What factors impact elementary general music teachers’ perceived abilities to meet the needs of ELLs in their music classrooms? I used a stratified sampling procedure based on school characteristics using thegenerlizer.com, in which all schools had at least 20% of the student population identified as English Language Learners. I developed a survey based on previous research that included questions related to teacher demographics and teaching context, perceptions of undergraduate teacher preparation for ELLs, current support for teaching ELLs, teaching strategies employed to meet the needs of ELLs, and open-ended questions. By bringing to light teaching practices and recommendations from the perspectives of teachers working directly with this population of learners, this research will provide needed information to support current teachers working with ELLs in their schools and will also offer recommendations for the preparation of preservice music teachers to meet the needs of ELLs.

ABSTRACT. From 2015-18, I was a teacher researcher embedded within an action research partnership of three Music Education Hubs, which sought to embed musical inclusion practice within instrumental music teaching. Musical inclusion has been theorised as dialogic interventions to provide hospitable spaces to engage marginalised actors: instrumental music teaching as instruction to prepare young people to perform, largely in the grade examinations. The project sought to encourage structural changes within music services to improve musical, personal and social outcomes for young people with social and emotional mental health difficulties (SEMH).

I describe how my research drew on methodologies from ethnomusicology. I co-created a music workshop which drew on John Blacking’s noted ethnography of how the Venda of the Limpopo region of Southern Africa use hocketing to initiate young people into citizenship by demonstrating the value of interdependence. My own ethnography describes how this offered a research vehicle, firstly by demonstrating to peers a practical means of embedding musical inclusion within Whole Class Ensemble Tuition. Secondly its invocation of citizenship offered a wider framework for the research. Prior to the project the UK government’s first National Plan for Music Education defined the value of music narrowly as a way to improve children’s attainment in other subjects which contribute to international economic competition. However, school pastoral teams described how this narrow concept of education had increasingly contributed to school exclusion of young people with SEMH, effectively creating ‘citizens of nowhere’. As the project developed, hocketing began to suggest a metaphor for how such improvisatory multi-disciplinary conversations could reframe instrumental music teaching as a way to nurture freedom, kindness and solidarity, the capabilities David Hesmondhalgh suggests music affords progressive citizenship. An inclusive instrumental teaching might rebalance or perhaps resist the narrow citizenship constructed top-down through government education and wider social policy.

ABSTRACT. The Norwegian municipal extra-curricular schools of music and performing arts are legally obliged to provide various activities to all children and young people where they can learn, create and perform music and other artistic expressions. This is achieved through the absence of entrance auditions and with relatively low admission fees. The school's vision of being accessible to all is aligned with the principles of the Nordic democracy and welfare state model. However, research suggest that the school displays exclusionary tendencies, with a higher proportion of middle-class students compared to working-class students. This can be attributed to a number of factors, including economic, accessibility and visibility considerations, as well as more subtle exclusionary mechanisms that result in some individuals becoming alienated from the institution and its offerings. In order to gain insight into how the concept of inclusion and the value of diversity have been historically understood and emphasised, how music as a discipline and its content have been presented, and what characterises the 'democratic games' in and about the school, curricula, research reports and white papers on the schools of music and performing arts have been analysed. Furthermore, we build on interviews with headteachers, teachers and parents, as well as two surveys to headteachers and music teachers respectively, to highlight four examples of apparently inclusive, but often misunderstood (classed) exclusionary practices. These include the inclusion of different popular music genres, the understanding of diversity, the provision of extra-curricular activities for all or a select few, and the distinction between progression and enjoyment. Our analysis of these social games is informed by Pierre Bourdieu's concepts of capital, habitus, illusio and game.

ABSTRACT. Between 2021 and 2022 both England and Wales released policy documents entitled, ‘A National Plan for Music Education’. While the English policy was a long-awaited update to a similar document published in 2011, the Welsh policy was unexpected and seemingly lacked precedent. Although its release corresponded with the systematic implementation of the new Curriculum for Wales, it had few links with school-based music education and instead was primarily concerned with the development of a new National Music Service. In this regard it aligned with both the 2011 and 2022 National Plans for Music Education in England, which sought to address the ‘patchy provision’ of musical opportunities for young people through structural reorganisation of local music services.

In light of the notable similarities and differences between the English and Welsh iterations of their National Plans for Music Education, in this paper we undertake a comparative policy analysis framed using Carol Bacchi’s ‘What’s the Problem Represented to Be?’ approach. Drawing on Bacchi’s own analysis of the English National Plan for Music Education, we note its problematisation of the ‘postcode lottery’ of music education provision and its political operationalisation as a means of ‘levelling up’ opportunities, developing ‘excellence’, and contributing to the economic value of the creative industries. In contrast, we highlight how the equivalent Welsh policy problematises access to music education for socially and economically disadvantaged children and proposes opportunities for musical ‘experiences’ as having the potential to improve their health and wellbeing outcomes. Finally, we compare these two political approaches and consider their implications for music education practitioners. We evaluate the impact of the new accountability measures introduced in England—such as the statutory requirements for Music Development Plans and Inclusion Strategies—and ask whether, in the less regulated Welsh context, practitioners are sufficiently well equipped to utilise music for appropriate and impactful health and wellbeing outcomes.

ABSTRACT. The terms “gifted” and “talented” are frequently used to describe learners who exhibit valued qualities that surpass normative expectations. In music education, these qualities often derive from the archetype of the “virtuoso” or “star-in-the-making,” typically signifying the aural, technical, and performance-related competencies deemed essential to forming such subjectivities. Though still prominent, these terms have faced extensive criticism over the past three decades, with scholars questioning the assumptions underlying their use and how they permeate educational practices — from everyday interactions to governmental decisions. Given that policy is an instrument of governance which allocates resources, sets institutional priorities, and directs curricular practices, several authors emphasize that the use of ‘gift’ and ‘talent’ within its texts is particularly deserving of critical scrutiny.

In this paper, I build on insights from my doctoral research to examine the use of “gift” and “talent” in curricular policy documents legislated within the island state of Malta and its implications for middle and secondary level education. My analytic approach draws on the conceptual tools offered by Michel Foucault and its methodological application in Carol Bacchi’s “What’s the Problem Represented to Be?” framework. I shall start by exploring the bodies of knowledge that define “gift” and “talent” within the texts in question, highlighting the socio-historical conditions that have shaped their meanings and embedded them in national and European policy discourse. I then analyse the effects accompanying their use within two interrelated categories. The first considers macro-level effects, focusing on how these concepts and their underlying assumptions have shaped curricular pathways and the aspirations detailed within the recently published ’National Education Strategy 2024-2030'. The second examines impacts on learners’ musical identities and their perceived potential for development and success. This paper shall conclude with reflections on the often unacknowledged implications of these policymaking concepts for music education, its accessibility, and the opportunities it extends.

ABSTRACT. Despite suggested shifts from the traditional master–apprentice approach in higher music education towards inclusive, collaborative, and peer learning formats, students often navigate narrow, pre-formulated learning trajectories misaligned with professional realities. Not least is this the case regarding the education of instrumental teachers, where students tend to be drawn into the recycling-wheel of masters and apprentices. To be able to break free from this cycle, the need for students to reflect on their future professional roles becomes apparent.

Drawing on our previous research on conditions for and experiences of teaching and learning in higher education of Western classical music, this workshop explores how the concept of professional judgement can be used to encourage music teacher students to reflect on their future roles as instrumental teachers. The workshop invites scholars interested in instrumental teaching within music teacher education.

Based on Hannah Arendt’s thinking that judgement requires continual negotiations in relation to actions in pluralistic social settings, we propose that collaborative and border-crossing activities could foster multiple perspectives on instrumental teaching. Such border-crossing activities could, for example, include various combinations of students, instruments, genres, and teachers, and their implementation might put demands on organization, collegiality, teaching competence, and educational situations in music teacher education programs.

In the workshop, we will discuss the organization, implementation, and potential impact of such activities, aiming to cultivate professional judgement in music teacher education. The workshop will begin with a theoretical background, including a recorded example of a suggested activity, followed by group discussions related to the development of the participants’ own practices.

ABSTRACT. In view of the continuous shift of society and music education towards heterogeneity, inclusion has become a key concept of sociological research in Germany. However, inclusive music education in German schools remains in its nascent stage. Given the diversity of German society and school populations, inclusivity in music education is essential. Academic success in Germany is closely linked to social and migration backgrounds as PISA 2018 undoubtedly illustrated making it crucial to ensure all students have access to musical activities. Schools bear a particular responsibility in this regard, as research highlights a strong connection between cultural participation and socio-cultural background. Since the ratification of the UN Convention on the Rights of Persons with Disabilities in 2009, the proportion of pupils educated inclusively in Germany has risen considerably. This indicates a growing demand for inclusive (music) education. Therefore, to navigate the dynamics of evolving inclusivity in society and music education, further research is essential. Taking root from here, the project „Teaching Music Inclusively“, which was conducted at Ludwig Maximilian University in Munich from 2019 to 2023, funded by the “Qualitaetsoffensive Lehrerbildung” and initiated by the German Ministry of Education and Research, was to unite theory and practice in order to prepare future educators for teaching in inclusive settings. Within the project, 73 students of music education, studying at LMU Munich participated in a paper-pencil survey containing four case studies, characterizing four children with their individual special educational needs within the music education classroom. These examples were then to be rated by their practicability. Respondents were asked to elaborate on their answers in the open question format after answering the closed, scaled questions. Thus, this study follows a mixed-methods approach that ensured an in-depth analysis of the following questions: What are future music educators’ concepts of inclusion? What are their self-concepts and attitudes towards inclusive music education? The research findings helped to discover a general openness and positive inclination toward inclusive teaching. However, misconceptions surrounding the concept of inclusion were also identified, underscoring the need for a deeper understanding. These insights might prove valuable for designing teacher education in view of inclusivity.

ABSTRACT. The 2021 UK census revealed an above-national-average increase in cultural diversity within the city of Manchester over the last 10 years. Meanwhile, critics have argued for a necessary decolonisation within the English educational system, which is particularly pertinent for music where culture, ethnicity and language are inextricably entwined with musical expression, understanding and development. However, supporting music teachers to embrace diverse musical cultures within their practice is challenging, particularly where their own understandings, approaches and values are rooted in the cultures of their own upbringing. Whilst intercultural teacher development research exists in other countries, there is paucity of research within the English educational context and the unique musical diversities within multicultural cities like Manchester.

This research project is rooted in an established teacher education partnership between the Royal Northern College of Music (RNCM) and Olympias Music Foundation (OMF) which aimed to address a shared aspiration to better understand the complex challenges of enabling music teachers to work within diverse local communities. Specifically, the OMF deliberately diversified their teaching staff by appointing three music teachers from non-western musical cultures (Iran, India and Senegal), and engaged the researcher (R. Gardiner) to lead a teacher education programme aiming to support these three individuals through taught sessions and teacher observations, This research project follows an action research cycle rooted in that programme, where data was generated through those taught sessions and observations (for example, reflective journals, observation notes, and discussions/interviews with participants) in order to inform future teaching. Initial findings point to the necessity for creating open musical spaces within non-fixed educational paradigms, which can enable teachers and teacher educators to meaningfully seek out commonalities or ‘common ground’. Specifically, open musical interactions via improvisation helped to enable keener cultural expression, communication and pedagogical sensitivity.

ABSTRACT. This research highlights the pedagogical perspectives of two elementary music teacher educators who moved from mentee/mentor (doctoral student and supervisor) to collegial academics. Through self-reflection and mentorship, we explore how our teaching and learning roles have emerged over six years. We reengage with relational research that was conceptualized in the “online location” (Author A & Author B, 2023) during the time of the Global Pandemic (2021–2022). Renewed by time itself, we engage and reflect on our practice in both the online location and in face-to-face learning.

Pedagogical curiosity urges us to reflect on our teaching experiences of an 18-hour course designed for Grades 1-8 general music educators. Observing one another teach allows us to examine creative topics related to beginning music educators, along with inspirational, innovative approaches.

Engaging relationally deepens and broadens our awareness of experience (Barrett & Stauffer, 2012; Clandinin, 2013). By learning about narrative inquiry—both as experience and the phenomenon under study—we attend to Connelly and Clandinin’s (2006) theoretical framing of the three-dimensional inquiry space: temporality, sociality, and place to understand our unique location of learning. Dialoguing about: the digital space as an online location, mentorship, voice through mentorship, and vulnerability as a pedagogical process (Author A & Author B, 2023) allows us to focus on our perceptions and understandings.

Part of Author A’s reflective learning process is to explore lived stories by creating music as an artistic expression of experience. The song Drifting (Evoking a Soundscape, 2023), an artistic rendering of story, is accessible on various streaming platforms (available upon request with our proposal). In this session, we offer our self-reflections with our music educator colleagues as we model possibilities for growth and change. We have come to learn that the online location provides a pivotal space of guidance about learning.

ABSTRACT. The COVID-19 pandemic imposed sudden shifts in social and educational interactions, with online synchronous musicking emerging as a critical tool for fostering community and emotional resilience. The pandemic of 2019-2021 has impacted many drastic and unprecedented changes in economic, social, community and family interactions. The experience of a world pandemic of a previously unknown virus has unleashed new realms of uncertainty regarding the present and future trends of healthcare, social cohesion, individual and community resilience, and educational strategies. This study addresses the concepts of isolation and loneliness as experienced during lockdowns and restrictions of social distancing in relation to the pandemic year of 2019-2020. Two researchers – one from music therapy and one from music education – created a research dialogue based on experiences of online synchronous community music events created in light of COVID-19 realities and other local crises experienced throughout 2022-2024. The study of online synchronous musicking during crises necessitates a robust theoretical and methodological framework that addresses human connectedness via digital platforms. Drawing from phenomenology and digital sociology, this research considers how online musicking fosters a sense of presence and community despite physical separation. Merleau-Ponty’s (1962) phenomenology of embodiment provides a foundational lens, suggesting that music, as an embodied experience, transcends its auditory dimensions to create virtual spaces of relational presence. In digital musicking environments, this embodiment is reconfigured, as individuals engage through fragmented, often asynchronous interactions mediated by screens and digital sound processing (Gibson, 2021). The theoretical framework is further enriched by Ansdell and DeNora’s (2016) work on music as a mechanism for social resilience, where musicking serves not only as a means of expression but as an agent of therapeutic and communal support. Human connectedness via digital platforms is further conceptualized through the lens of social presence theory (Short, Williams, & Christie, 1976), which argues that mediated communication fosters relational depth despite physical absence. In online musicking, this social presence is constructed through interactive elements such as real-time improvisation, synchronized harmonization, and shared auditory experiences, even when delayed or distorted by digital latency. Jenkins’ (2009) participatory culture framework also informs this study, emphasizing that digital musicking is not merely a replacement for in-person interaction but a transformative cultural practice that enables new forms of creative and communal engagement. These perspectives collectively frame online musicking as a liminal space where conventional notions of synchrony and musicality are renegotiated, fostering an expanded understanding of presence and interaction. The study aligns with constructivist epistemology, acknowledging that reality in online musicking is co-constructed by participants through dialogue, interaction, and reflective meaning-making (Gergen, 2015). Given the unprecedented nature of digital musicking during the COVID-19 pandemic, the methodological approach must capture the fluidity and subjectivity of these experiences. Digital ethnography (Pink et al., 2016) provides a methodological scaffold, allowing for an immersive yet critically reflexive examination of how individuals engage in online musical communities. This methodological lens is crucial in exploring how the constraints and affordances of digital platforms shape the experience of musicking, particularly in times of crisis. The methodological framework of this study integrates three primary methods: participant observation, spoken feedback from participants, and co-researcher dialogue. First, participant observation is central to understanding the dynamics of online synchronous musicking. This method involves immersive engagement in digital musicking sessions, wherein researchers actively participate while documenting emergent patterns of interaction, sensory experience, and communal engagement. Online participant observation necessitates a multimodal approach, combining textual, auditory, and visual data to capture the nuances of virtual musical experiences (Pink et al., 2016). The inclusion of video recordings and chat transcripts further supports a comprehensive analysis of how participants navigate digital constraints and opportunities in musicking. Second, spoken feedback from participants serves as a key data source, offering direct insights into their lived experiences of online musicking. This feedback is collected through structured and semi-structured interviews, as well as spontaneous reflections within the musical sessions. The phenomenological interview approach (van Manen, 2016) guides this process, prioritizing open-ended, experience-centered inquiries that allow participants to articulate their emotional and cognitive responses to digital musicking. This method is particularly valuable in capturing the paradoxes and tensions inherent in online music-making, such as the disconnect between auditory experience and emotional fulfillment. Finally, co-researcher dialogue is employed as a methodological tool to facilitate interdisciplinary analysis. Given that the study is conducted through a collaboration between a music educator and a music therapist, this dialogical approach enables the integration of multiple perspectives, fostering a deeper understanding of the therapeutic and pedagogical implications of online musicking (Ansdell & DeNora, 2016). Dialogical phenomenology (Gadamer, 2004) frames this interaction, emphasizing the iterative process of reflection, interpretation, and meaning-making. This approach aligns with Richardson and St. Pierre’s (2005) concept of “writing as a method of inquiry,” wherein the act of documenting and exchanging reflections itself becomes a mode of knowledge production. In synthesizing these methodological strategies, the study not only captures the phenomenological essence of online musicking but also generates insights applicable to music education, therapy, and digital community-building. The combination of participant observation, spoken feedback, and interdisciplinary dialogue allows for a multi-layered exploration of how digital musicking fosters resilience, emotional connection, and communal belonging in times of crisis. Findings reveal a separation between auditory experience and emotional experience of synchronous online music making events, and the impacts on feelings of connectedness and human interaction as positive moments of healing in the face of pandemic isolation. Study results are (re)considered particularly within the context of on-going global crisis and turmoil, which have intensified the relevance of digital community-building. By examining three types of online musicking events, this research highlights the auditory-emotional dynamics within virtual music-making spaces. Using interdisciplinary dialogue between a music educator and a music therapist, findings reveal new insights into the therapeutic and educational value of online musicking in crises.

References Ansdell, G., & DeNora, T. (2016). How music helps: In music therapy and everyday life. Ashgate. Gadamer, H.-G. (2004). Truth and method (2nd ed.). Bloomsbury. Gergen, K. J. (2015). An invitation to social construction. SAGE. Gibson, S. J. (2021). Shifting from offline to online collaborative music-making, teaching and learning: perceptions of Ethno artistic mentors. Music Education Research, 23(2), 151–166. https://doi.org/10.1080/14613808.2021.1904865 Jenkins, H. (2009). Confronting the challenges of participatory culture: Media education for the 21st century. MIT Press. Merleau-Ponty, M. (1962). Phenomenology of perception. Routledge. Pink, S., Horst, H., Postill, J., Hjorth, L., Lewis, T., & Tacchi, J. (2016). Digital ethnography: Principles and practice. SAGE. Richardson, L., & St. Pierre, E. A. (2005). Writing: A method of inquiry. In N. K. Denzin & Y. S. Lincoln (Eds.), The SAGE handbook of qualitative research (3rd ed., pp. 959–978). SAGE. Short, J., Williams, E., & Christie, B. (1976). The social psychology of telecommunications. Wiley. van Manen, M. (2016). Phenomenology of practice: Meaning-giving methods in phenomenological research and writing. Routledge.

ABSTRACT. This paper reports on a study that explored experiences and perceptions of students in an ongoing performance-based workshop which took place in a private afternoon music school setting in Greece. A combination of formal, informal, non-formal approaches for music teaching and learning (Folkestad, 2006; Green, 2008; Mok, 2011) was applied in the workshop. Students chose their own repertoire, played by ear, improvised on familiar and unfamiliar instruments, experimented with sound-generating objects, developed sound engineering skills, created graphic scores, and explored music theory in performance. The music learning approaches that were adopted in the setting of the current study differed significantly from the Western music centred practices that are followed in afternoon music schools and conservatoires in Greece (Mygdanis and Kokkidou, 2018). However, there is a general lack of empirical research on the Greek afternoon music schools and conservatoires with an emphasis on students’ voices. This study investigated N=10 individuals’ experiences and perceptions about their participation in a performance-based music workshop. The workshop ran weekly for 8 months in a private afternoon music school in 2024 and was facilitated by the first author. Participants’ age ranged from 9 to 14 years old. Data was collected through interviews, which were held in groups, in pairs, and individually, and through observations of two sessions. Data analysis reported that mixed music learning approaches (formal, informal, and non-formal) contributed to students’ musical and social development. Participation in the workshop provided students with a safe environment for self-expression and peer-learning, reinforced their sense of belonging, and changed their perspective of what music is. The study showed that there are possibilities for music teachers to approach instrumental learning and music theory innovatively, challenging prevailing methods of traditional teaching of these two core subject areas.

ABSTRACT. In this presentation, I will share the findings of a study that explored contemporary perceptions of informal learning (IL) in music education. Over 20 years has passed since Green’s (2002) seminal publication about how popular musicians learn in the informal realm, and literature suggests that the approach has continued to evolve and become adapted in schools on an international scale. Yet the approach has faced challenge over the years. For example, weighty COVID lockdowns have had a negative impact upon practical music-making in schools, and the music education policy context and discourse in England favours more formal, traditional ways of teaching and learning. Still, research continues to highlight the benefits of IL and the Musical Futures organisation continues to support teachers who implement the approach.

Recent interview data from eight teachers who implement IL (based in the UK and internationally, spanning across both primary and secondary age phases) and one key figure who lies close to the development of Musical Futures will be presented. Through a process of thematic analysis, three key themes have been generated:

- Changes over time (evolution of terminology to label IL, negative impact of COVID lockdowns, adopting the approach in primary education);

- Balancing, blending and cherry-picking (striving to achieve a pedagogical balance, a skills- and knowledge-first approach that leads up to IL, teacher fear and risk);

- Affordances, challenges and constraints (enhancement of ‘soft skills’, challenges posed by insufficient resources, importance of teacher experience, and constraints of the wider education landscape and policy).

The findings show that despite some of the challenges and constraints, the pedagogy still thrives in some pockets. Implications will be proposed for the sustainability of the IL approach in light of the affordances presented, and debate will be invited about the place of IL in contemporary music education.

ABSTRACT. Undertaking a longitudinal multi-sited narrative ethnography in the city of Toronto, Canada, we explore if and how musical and artistic teaching and learning initiatives serve the refugee newcomers they purport to serve. In 2013, Toronto became the first “sanctuary city” in Canada within which everyone, regardless of their legal immigration status, should have access to municipal and police services. With the city of Toronto having the highest proportion of immigrants in Canada, the challenges of enacting such a policy invite critical engagement with how music education practices and cultural programs within various organizations and levels of governance address the dignified resettlement of refugee newcomers. Our analysis concerns whether such initiatives enable or preclude cultural and artistic expressions in favor of hegemonic artistic values embedded in the already marginalized arts and cultural spaces in Toronto’s public sphere. We share insights gathered through the inital year of fieldwork and interviews with cultural workers and critically analyze the availability, distribution, and accessibility of human, economic, and cultural resources within the existing policy ecosystem in Toronto. Our particular population focus will be adult refugee newcomers to whom less attention has been paid within music education scholarship and for whom creating sustainable lives and livelihoods in Toronto is paramount concerning housing, childcare, and family responsibilities. Based on extensive literature on music education as a tool for fostering social cohesion, cultural inclusion, and integration in juxtaposition with our empirical research analysis, we suggest that the significance of refugee newcomers’ artistic pre-migration lived experiences continues to be overlooked and instead the emphasis remains on the integrative practices of arts and cultural education in the already peripheralized cultural spaces in the city of Toronto. We conclude by highlighting potential implications for the field of music education, advocating for a shift in perspective from a solution-driven outlook towards a cause-oriented prism.

ABSTRACT. Sustainable education for children is an urgent concern in today's world, yet equity-based teaching remains a challenge, especially for vulnerable groups such as refugee children. Various initiatives have implemented music programs aimed at fostering social connections and supporting refugee children. However, there is a lack of systematic studies addressing the design of these educational settings. Aligning with the Sustainable Development Goals (SDGs) 3 (well-being) and 4 (quality education), this research highlights the need to incorporate Caring Thinking, which enhances self-care and resilience. So far, research exploring caring thinking is limited, and its integration into music education is still emerging. This study aims to design a multimodal Singing-Based Learning Environment (SLE) to foster caring thinking among primary school-aged refugee children. The key objectives are (1) to develop design principles that foster caring thinking through singing, and (2) to explore children's perspectives on the SLE. Utilizing a Design-Based Research (DBR) framework, this study develops and iteratively refines the SLE. It does so by systematically including children's voices, employing the participatory, modular Mosaic Approach, which integrates a range of child-centred methods. Thus, the data encompass verbal data collected through group discussions (“Community of Inquiry”), children's thematic drawings, and videographed group activities. Based on a Thematic Analysis of this data and using MAXQDA to facilitate systematic interpretation, the insights reveal children's in-depth experiences. The paper will focus on preliminary insights from complementary verbal and visual data and will present foundational design principles, featuring a heuristic model that incorporates storytelling and interactive singing games. Ultimately, this research seeks to advance equitable education, with the intention of promoting child well-being and supporting sustainable futures.

ABSTRACT. This study sought to clarify the current state of piano education in Singapore. A questionnaire was designed to facilitate a single semi-structured interview to gather the perspectives of piano teachers. An invitation was sent to all members (with minimally ten years of piano teaching experience) of the Singapore Music Teachers’ Association (SMTA). Three piano teachers rendered their support for an hour-long individual interview held through Microsoft Teams, utilizing the screen- and audio- recording with auto-transcription features to gather the data needed. A post-interview review of the transcribed data was carried out on Delve (a qualitative data analysis software) where the collective views were subsequently analyzed thematically. This research poster includes an overview of the procedures, the thematic findings from the interviews, and suggestions for the future. The findings provide a glimpse into piano education in Singapore where it shows growth in pedagogical content knowledge among the teachers but highlights sociocultural influences as a concern to the success of piano learning and teaching.

ABSTRACT. This study examines piano teachers’ perceptions of how educational affordances influence constructivist learning design in piano teaching. Educational affordances refer to the inherent properties of the teaching environment or tools that support specific learning interactions. In this context, the affordances of the piano, such as its dynamic range and touch sensitivity, provide unique opportunities for hands-on, experiential learning that align with constructivist principles, emphasising active knowledge construction through personal engagement (Piaget, 1967). Through a structured survey, this research gathers data on teachers’ beliefs about how these affordances can be leveraged to facilitate creative activities such as improvisation and composition and the obstacles that hinder their integration, including time constraints and training limitations. The findings indicate that while piano teachers recognize the potential of educational affordances to enrich learning and encourage critical thinking, practical barriers often impede their effective use. This study highlights the relationship between educational affordances and constructivist learning design in piano education. It recommends better supporting teachers in implementing these approaches to foster student engagement and deeper musical understanding.

ABSTRACT. Tai Chi is a traditional Chinese martial art that incorporates the core concepts of Tai Chi and Yin-Yang from Confucian and Daoist philosophy. Developed through the combination of the principles of Yin-Yang and the Five Elements, traditional Chinese medicine's meridian theory, and ancient techniques of meditation and breathing exercises, Tai Chi is a holistic practice focusing on both internal and external cultivation. It is characterized by softness, gradual movements, lightness, and a balance between hardness and gentleness. Tai Chi is essentially a discipline that uses one’s own body as the subject of study, to help achieve the unification of body, mind, spirit and the universe. Through a comprehensive Tai Chi training system, practitioners gain self-awareness, an understanding of others, and insight into their position within nature. This allows for the regulation of the body, the balancing of emotions, and ultimately, a high level of harmony between self, others, and the natural world, which are essential for the overall health and development of a musician. Many pianists have greatly benefited from studying Tai Chi, while many others encounter difficulties in choosing between the various Tai Chi styles and training methods to incorporate its principles into their piano playing. This paper focuses on developing a systematic training method that incorporates the fundamental principles common to all styles of Tai Chi, primarily emphasising three essential elements: proper posture and comfort in the body (body regulation), deep and smooth breathing (breath regulation), and a calm and tranquil mind (mind regulation). Tailored to the needs of the pianists, this system is useful for all levels and ages, and can be incorporated into every lesson. A detailed explanation of the system will be discussed in the paper.

ABSTRACT. This abstract presents findings from a focus group study examining music composers' and teachers' perspectives on effective approaches to music theory teaching and learning in higher education in the Maltese Islands. Through qualitative analysis, several themes and sub-themes emerged, shedding light on the current landscape of music theory in Higher Education education in the Maltese Islands. The first theme addresses the musical competencies that music composers and theory teachers deem essential in the curriculum. Participants emphasized the importance of a robust curriculum that includes aural training, sight-singing, and analytical skill development, supported by diverse methodologies. The integration of keyboard harmony, improvisation, composition, and performance was also highlighted, along with combining various types of notation and counterpoint. These competencies are seen as foundational to well-rounded musicianship, preparing students for both theoretical and practical applications. The second theme explores effective teaching and learning approaches in music theory. Participants emphasized technology’s role in enhancing learning outcomes, and innovative strategies for integrating composition into music theory courses as essential for fostering creativity. Additionally, discussions addressed assessment methods in higher education, with a focus on the Portfolio to evaluate students’ theoretical understanding and practical skills. These findings underscore the need for a comprehensive and flexible approach to music theory in Higher education that balances skill development with innovative pedagogy. By addressing both competency building and effective instructional strategies, this research contributes to the ongoing dialogue on best practices in higher education music theory, advocating for a curriculum that is both foundational and adaptable to contemporary educational needs.

ABSTRACT. “Genocide, forced relocation, and boarding schools wrought havoc on my family”, Anthony Rhodd wrote in a November 21, 2024, Substack blog. As an enrolled member of the Otoe-Missouria Tribe, Rhodd’s generational trauma in addition to dysfunctional incarceration, is difficult to fathom. He experienced punishment in solitary confinement as a 15-year-old and as an adult. Rhodd also sang in the Oakdale Community Choir while incarcerated. In this talk, Anthony and I explore how choir, writing, formal education, and songwriting planted seeds for internal and community care. We look at the relationships between deficit-based attitudes and punishment in schools and prisons and consider various forms of power dynamics within musical practices and research. We also highlight promising examples from The International Music and Justice Inquiry Network: IMAJIN Caring Communities.

ABSTRACT. This research examines the application of the LivePBL DEEP Model in early childhood music education in Beijing, addressing gaps in inclusivity and cultural engagement. Research in early music education often focuses on developmental skills, yet it frequently overlooks community connections and diverse cultural perspectives, which are vital for fostering a holistic educational experience. As Beijing undergoes rapid urbanisation and cultural shifts, this project emphasises the need for inclusive, culturally responsive pedagogy that introduces young learners to local heritage.

The LivePBL DEEP Model structures learning through four phases—Direction, Education, Event, and Project—enabling pre-service teachers to co-design and implement music activities that engage children in meaningful ways. This framework encourages interactive workshops, reflective sessions, and collaborative learning experiences, where young children are introduced to music in a supportive, culturally relevant environment. Such activities contribute to cognitive and social development while instilling a sense of community and inclusivity.

Initial findings reveal that the LivePBL DEEP Model successfully fosters increased engagement and social skills among young children. Community feedback highlights the program’s positive impact on children’s appreciation for music and cultural awareness. Meanwhile, pre-service teachers gained practical experience in designing and facilitating inclusive music activities, strengthening their ability to implement culturally sensitive teaching practices. This study offers a replicable model for integrating inclusivity and community engagement into early childhood music education, advocating for a holistic approach that combines pedagogy, culture, and community as pillars of a well-rounded educational experience.

ABSTRACT. “Crafting ‘Musical Encounters’” is an interdisciplinary research project that explores music as a mode to create inclusive and affirming learning environments for children between the ages of three and seven years. Through the design and evaluation of two pilot workshops with nine children and their parents, we examined how pedagogies of music can be used to foster inclusivity through facilitating social emotional learning (SEL). Pilot data was collected through video recordings and a survey that was sent to parents after each workshop. We aimed to investigate i) how models of music education in early childhood can move beyond existing instructional paradigms that exclusively emphasise skill development, and ii) how embodied music pedagogy can be used in multicultural societies as a medium for fostering inclusion holistically. A qualitative analysis revealed that throughout both workshops children were actively engaged in musical activities. High levels of SEL indicators were in evidence, which facilitated peer inclusion. Analysis of parental behaviours revealed that more child-centred parental interactions encouraged musical engagement. Conversely, overly corrective interactions tended to extinguish musical engagement. This pilot study provides new evidence regarding the way various theoretical approaches to inclusion may be translated into practice in the music classroom, and its findings reaffirm the value of musical play in early childhood education.

ABSTRACT. The new centre (kindergarten for 3-5 years old) in the Roma neighborhood of Fakulteta (Sofia, Bulgaria) is the first step of FSCI's Early Years Education Programme, which aims at reducing the school drop-out rate among Roma children and so increase access to education for this vulnerable group. This particular research has focused on a specific group of Roma preschoolers who place a great priority on singing and music. The findings have shown that there is a decline in the number of instances in which involvement is poor or interrupted, and there is an increase in the amount of sustained engagement. It is anticipated that this will lead to a rise in the level of social engagement that preschoolers have with adults, as well as an improvement in their ability to adjust to social situations and an increase in their positive feelings. In this study, a convergent parallel mixed methods design was utilized in order to investigate the elements that have an impact on the flow experiences of Roma preschoolers. We conducted an independent analysis of the quantitative data obtained from surveys, using the Experience Sampling Method, as well as the qualitative data obtained from a case study of a support center for Roma, before incorporating them into a comprehensive analysis. Although preschoolers do not reach flow in accordance with their self-assessed degrees of difficulty and expertise, the findings show that flow is a customized experience. This is despite the fact that preschoolers do not achieve flow. The results of the mixed methods reveal that Roma preschoolers may not perceive flow in the same way as other preschoolers from a state kindergarten. This leads to the inaccurate conclusion that there was no movement that took place. In order to generate additional regression model predictor variables, it is recommended that the sample size be increased to include music programs. Additionally, it is recommended that flow be longitudinally examined in large group samples, and that a variety of terminology be used to define flow characteristics in Experience Sampling Method surveys. The teaching staff should be able to use their knowledge with music as a catalyst, which will allow preschoolers to explore the various musical educational settings, emotions, and perspectives that are produced by music. This might imply a great deal. Undoubtedly, the incorporation of music into activities that take place outside or in classroom discussions will result in an increase in the attentiveness, meaningful music dialogue, and musical involvement of preschoolers in the context of exceptional quality music experiences.

ABSTRACT. A Case Study of Technology Identity in Expert Music Teaching

As technology is ubiquitous in everyday life, its presence is found in all facets of music, whether it be performing, practicing, composing, improvising, producing, listening, or teaching. Hitchcock (2017) delineates four broad categories of technology in music education: educational, administrative, social, and music technologies. Two issues, particularly with educational and music technologies, have come to the forefront of research on music and technology which are that of teacher underuse of technology and gender. Educators and researchers seeking the alignment of technology and pedagogy have utilized Mishra & Koehler’s Technological Pedagogical Content Knowledge (TPACK) framework. However, consideration of teacher knowledge within pedagogy, content, and technology intersections does not take into account teacher identity. The extensive body of research on teacher identity has found that a strong professional identity is positively related to emotional well-being and the quality of teaching. Is knowledge enough? How might identity impact both the gendering in music classrooms and teacher integration of technologies in music instruction? To reveal teacher identities and the possible impact of teacher identity on technology use and integration, we extended the TPACK domains to include identity as well as knowledge in this investigation. Using a case study approach, we examined how the musical life of an accomplished and experienced female music performer and teacher's trajectory has intersected with technology as a tool in piano teaching and performing. The participant was was chosen based on her diverse musical career as a performer, educator, leader, and co-creator of a company which provides multimedia resources and curricula for teaching piano. Quantitative and qualitative data were collected through a TPACK and TPACI questionnaire and in-depth interview. Analysis of the results revealed that through using this framework, the participant’s views were able to be critically examined with a lens through which a salient and beneficial understanding of how the participant’s knowledge and identity factored into her successful use and integration of technology throughout her career. In addition to identity, additional themes found in the analysis were teacher adaptability and problem-solving skills.

ABSTRACT. Scholars have suggested that music educators whose training has focused on the Western classical canon have trepidation when engaging in improvisatory forms of music making. Several studies have shown that discomfort with improvisation may be due to a teacher’s belief that they lack the skills necessary to successfully engage in improvisation. Others suggest that music educators may need to unlearn a singular focus upon the exact performance of canonical repertoire to feel comfortable enough to engage personally in improvisation and to incorporate improvisatory forms in their teaching. Dialogic approaches to music improvisation have been found to help pre-service teachers to better engage in improvisation so it is possible that adopting such a philosophical approach might help some teachers to mitigate their discomfort and learn to improvise. Accordingly, we facilitated a day-long workshop with in-service teachers to understand their experience and perception of improvisation, followed them through the workshop experience, and discussed the ways in which the professional development experience informed their musical and teaching practices. We drew upon a recent expansion of Bakhtinian dialogism within the context of free improvisation in music education as a framework to guide our research, and introduced concepts from Bakhtinian dialogism during the workshop to foster dispositions and conditions conducive to free improvisation. Data were gathered through a pre workshop questionnaire, postworkshop interviews, and focus group discussions during the workshop and 3-4 months later. We conducted qualitative thematic analysis. While several themes emerged, for the purposes of this presentation, we focus on the synergies that support the music improvisation teacher in finding the freedom to let go as they encourage learners to pursue freedom, and the creative empowerment learners and teachers can experience when teachers embrace musical improvisation and an improvisatory approach to teaching.

ABSTRACT. Music teacher education literature on music improvisation has acknowledged the struggle that educators experience as improvisers and teachers of improvisation. Working within notation-dependent, performance preparation dominated spaces, researchers have sought to provide strategies to help music educators incorporate improvisational practices into their pedagogy. However, these resources often act as supplemental tools within music teaching and learning spaces dominated by a Eurocentric classical paradigm of music education, which is currently not conducive to creativity through improvisation.

In this article, I argue that narrative approaches to music education methods can provide openings to rethink teaching and learning of music improvisation, ultimately challenging traditional, Eurocentric, colonial approaches. Data and analysis from a teacher education study in which four classically trained musicians explored improvisation through facilitated narrative practices reveal challenges and opportunities of employing this practice through an auto-ethnographic framework of the initiator of research’s experience. This research, conducted over an eight-month period, utilized narrative-based group improvisation sessions followed by cyclical reflection and analysis utilizing video stimulated recall and narrative inquiry methods.

Insights from this study suggest that embracing the uncomfortable moments of teaching music improvisation are made easier when the learning space is shaped by teacher and student experiences informed by narrative ways of knowing. In such spaces, breaks, rather than breakthroughs in barriers to creativity are celebrated and performance dominated outcomes are challenged.

ABSTRACT. This work investigates how performative pressures, driven by accountability mandates and performance metrics, shape the nature and value of music education in institutional settings. Adopting a qualitative, multi-method research design, the study draws on two principal data sources. First, a discourse analysis of national and regional policy documents in music education was conducted to identify how standards-based frameworks emphasize quantifiable outcomes. Second, semi-structured interviews were carried out with 4 music educators from diverse school contexts to capture their lived experiences of navigating performative mandates. Thematic analysis of these interviews highlighted the tensions between standardized evaluative measures and the more holistic, creative, and communal dimensions of music teaching. Findings reveal that while performative targets can provide structured goals, they often constrain the broader educational potential of music by prioritizing measurable outputs over creativity, improvisation, and collaborative learning. Building on these insights, the study proposes a conceptual framework that reconceptualizes music education as a space for cultural engagement and personal development, rather than merely a site for performance-based assessment. This framework underscores the need for policy revisions and professional development programs that support educators in resisting reductive metrics, while fostering inclusive, imaginative practices. By offering both empirical evidence and theoretical considerations, the study aims to inform researchers, educators, and policymakers committed to a more balanced, humanistic approach to music education.

ABSTRACT. Swedish art and music schools (SAMS), established in the 1940s, aim to provide affordable extra-curricular instrumental and singing education for all children, regardless of their parents’ economic situation. The tuition is highly subsidized, with families contributing only about 7% of the tuition costs. While traditionally focusing on one-to-one instruction, a recent governmental report (2016) has advocated for group teaching, emphasizing child-centeredness and social aspects. However, concerns persist regarding potential declines in musical proficiency. The UN Convention on the Rights of the Child, since 2020 part of the Swedish constitution, promotes democratic values in all education, including music education in SAMS. This requires teachers to prioritize children's best interests in their teaching methods and approaches.

A focus group interview study was performed with teachers and leaders (n = 14) from one SAMS. Additionally, a stimulated recall study was performed with teachers from the same SAMS (n = 3). By focusing on teachers’ perceptions of group teaching, this study contributes to a deeper understanding of the complex factors that influence students' development and inclusion in group teaching contexts through the theoretical lens of Communities of Musical Practice.

The qualitative content analysis suggests that while teachers often perceive musical development and social inclusion as distinct, they strive to integrate both aspects in their teaching, arguing that these dimensions can be reciprocally beneficial. Potential risks and benefits of suggested strategies for differentiation must be considered, and the teacher’s didactic choices, thus, are important for creating an optimal learning environment for all pupils.

ABSTRACT. Music education in England has widely been described as in crisis, and the English orchestral sector continues to acknowledge challenges in workforce diversity, audience development and the talent pipeline. In the wake of these concerns, Shireland CBSO Academy (SCBSO), a majority non-selective free school, opened in September 2023 as a partnership between Shireland Collegiate Academy Trust and the City of Birmingham Symphony Orchestra. The school teaches a balanced curriculum but also gives every student access to unique music opportunities including free of charge weekly instrumental or vocal lessons, membership of an ensemble and inspiration sessions from CBSO musicians and guests. Music is elevated to a core subject and all students will take music or music technology GCSE.

My research explores the complexity of SCBSO as a unique but conventional school, considering how school culture is shaped by its musical offering. My study explores what defines music partnerships at the school and how music is taught and learned as a result. The research will contextualise the school in the English music education and orchestral landscapes and provide some thoughts on what might be learned from this model.

This presentation will outline early thoughts on the methodological approach taken to research the culture of SCBSO. Concepts of place informed by cultural geography will be outlined, in addition to some initial thoughts on theoretical frameworks. The presentation will summarise the methods of data collection employed, which include documentary analysis, participant observation, interviews and focus groups and the use of thematic analysis with data. Initial observations and findings will be shared, alongside conceptualisations of what emerging findings may reveal about this unique model of schooling for young people.

ABSTRACT. The multi-dimensional nature of music curriculum as perceived and practised in secondary music classrooms is diverse in nature and form. Increasing emphasis on documenting curriculum in regulatory frameworks and school structures, can be challenging for secondary school music, where the nature of music curricula remains difficult to capture in traditional forms. This can result in curricula that are challenging to quantify in wider subject discourse, leading to pedagogical misunderstandings and miscommunications between subject disciplines. Such complexities can create barriers which hinder young people from encountering musical experiences in the classroom, where the validity of musical modalities as approved forms of learning may be questioned by school leaders and policy makers. Secondary school music curricula in England have increasingly been required to meet the needs of young people’s musical development, whilst being realised in school-generated generic curriculum templates. To understand such a phenomenon, this research study explored the co-existence of teacher and policy curricula in the music classroom and considered what this might mean for curriculum purposes in musical spaces. The simultaneous operation of two curriculum purposes with competing aims, can mean that musical learning becomes elusive in the secondary music classroom. Such curriculum dualism is problematic, as curriculum is critical for understanding models of musical progression in schools. The research study consisted of a set of semi-structured interviews with 12 music teachers from across 6 English regions, exploring the nature and substance of music curriculum as realised and practised by music subject leaders. The interview data was subject to three cycles of thematic analysis coding, enabling themes of curriculum control, curriculum purpose, curriculum substance and curriculum as a responsive act to emerge. Interview findings were synthesised into a model of curriculum strata, revealing the nature of unacknowledged competing curricula aims, simultaneously operating in music classrooms, and exploring the implications this has for young people accessing musical learning. Findings reveal the changing nature of curriculum in schools and the implications that this has for music teachers in their development and conceptualisation of curriculum models for their classrooms. Failing to acknowledge such multi-dimensional natures of music curriculum in schools causes difficulties for young people and inhibits their opportunities to access equitable and inclusive musical experiences.

ABSTRACT. This presentation delves into the collaborative, autoethnographic effort of six key stakeholders aiming to transform Cyprus's National Music Curriculum for secondary schools. Through Collaborative Autoethnography and building on their previous contributions to the curriculum, participants sought to reshape its content and implementation to better align with contemporary educational practices and address the needs of teachers and students alike. Over six months, the group engaged in deep reflection, examining philosophical differences and integrating insights from prior research with teachers and students. This reflective process, guided by Waterbury’s Collaborative Improvement Model and the concept of "Communities of Practice," emphasized a curriculum that respects teacher’s autonomy and adapts to student interests. This approach was particularly effective in allowing the participants to deeply understand the nuances of their collective experiences and how they influenced their views on the curriculum. It provided a rich, narrative-driven method to capture the complexity of the revision process. Data collection included written narratives, 9 videos of zoom meetings and the shared curriculum document with comments and suggestions. Participants shared narratives, collaborated in the Zoom meetings, and reviewed each other's insights on curriculum strengths and weaknesses. In analysizing the data through iterative revisions, we addressed the curriculum as a) a text and b) an evolving practice both influenced by sociocultural contexts. The revised curriculum aspires to empower teachers with flexibility and to foster a more relevant, engaging musical experience for students. This study underscores the significance of autoethnography in curriculum development, offering a model for educators to explore curriculum as a living document shaped by multiple perspectives. By supporting teacher autonomy and adaptability, we seek to enrich the music education landscape in Cyprus, making it more meaningful and impactful.

ABSTRACT. In recent years there have been growing concerns around the decline in school music education provision across various jurisdictions such as England (Bath et al., 2020) and New Zealand (Browne 2022; Webb 2016) with some authors pointing to a global decline in music education (Aróstegui, 2020). More critically, it has been argued that music's position as a subject in a broad and balanced curriculum in English schools was already precariously balanced before the pandemic (Daubney et al., 2019). Notable factors influencing the decline in provision and participation in music among secondary school students in particular, appear to be a narrowing of the curriculum in favour of "core' subjects, the introduction of new priorities or areas of focus such as STEM, digital skills, and wellbeing, and decreasing numbers of students choosing music for senior level examinations. This paper examines these issues within the context of secondary school music in Ireland. Previous research on subject uptake in the Irish context has highlighted that gender and school type are key factors in the provision of music as a secondary school subject (Smyth & Calvert, 2011). However, since the introduction of a new music syllabus at lower secondary level in 2018, research has yet to report on subject provision and participation at national level. Drawing from statistical analysis of state examinations data and a survey of music teachers (N=126), the paper will present new insights into the landscape of music education at secondary level in Ireland that may resonate with international trends.

ABSTRACT. In this symposium, we wrestle with the dynamics of undertaking music education research in an ethical manner with collaborators from equity-deserving communities. Participants will share about their experiences of engaging in participatory music education research with local North American Indigenous individuals and communities. Through a discussion of various projects, theoretical perspectives, and methodologies, we will share some of our key learnings including the importance of deep and sustained relationships, collaboratively defining community-minded research objectives, attending to power dynamics implicit in consent and data-construction/collection, and sharing results in an ethical manner in a system where tenure track academics often stand to gain more than research collaborators. As we continue to ask ourselves “what does it look like, pragmatically speaking, to centre Indigenous perspectives in research endeavours?” we encourage others to take up community-based scholarship with historically marginalized groups in their unique contexts.

Chair: Jody Stark with Coco (Ray) Stevenson (Treaty 1/Winnipeg, Manitoba, Canada)

Anita Prest(Lək̓ʷəŋən Territory/Victoria, British Columbia, Canada): From Permission to Community Based Collaborative Research For the past nine years, we have engaged in research on how best to embed First Nations and Métis content, pedagogies, and perspectives in K-12 music education classes in British Columbia, Canada. Over time, we have moved from simply obtaining permissions from the First Nations communities where we have conducted the research, to a community based participatory model, whereby a steering committee guides the entire study from creating the research question to planning the various forms of knowledge mobilization. In this presentation, we discuss the ethical benefits and challenges we have encountered as we strive to move forward together.

Hector Vazquez-Cordoba (Lək̓ʷəŋən Territory/Victoria, British Columbia, Canada) and Jesús Alberto Flores Martínez, (La Huasteca, Mexico) Looking to the Global South: Working in Collaboration with Masewal Communities in the Mexican Context In this presentation, we propose Chikomexochitl (seven flowers or corn child) as an Indigenous methodological paradigm for research initiatives in collaboration with Masewal communities in Mexico. Chikomexochitl is rooted in Masewal worldview and is centred around the importance of building relationships of care and reciprocity. We discuss ways in which Chikomexochitl can inform future research in music education in particular and Community-Based Research in general. We will highlight music making practices rooted in Masewal culture using Indigenous and decolonial lenses from the Global South. We will share our own lived experiences working in collaboration with Masewal community-led organizations.

Katie Tremblay (Unama’ki/Cape Breton, Nova Scotia, Canada) Learning About Place-Based Indigenous Frameworks for Music Education Research This paper will focus on the importance of balancing local Indigenous epistemologies within the larger context of Indigenous perspectives in North American when conducting research. I will describe how my thinking has been shaped by recently moving to a new region of Canada (Ontario to Nova Scotia), specifically exploring potential relationships between the Anishinaabe Gifts of the Four Directions Medicine Wheel and the Mi’kmaq Etuaptmumk (Two-Eyed Seeing) approach as frameworks for music education research in theory and practice.

Liem Joe and Marcia Ostashewski (Unama’ki/Cape Breton, Nova Scotia, Canada) Two-Eyed Seeing as a Framework for Healing, Health and Wellbeing for Learning and Research In this paper, we explore ways that music, arts and language-based creative practices can support efforts to Indigenize, decolonize, and make education equitable while empowering learners as active participants in education, research and, more broadly, contributing to healing, health and wellbeing. We discuss key principles of the Mi’kmaq concept of Etuaptmumk (Two-Eyed Seeing) as a framework for our research and community work including: action-oriented research, inclusion of Indigenous ways of knowing and being, co-learning and collaboration, and mitigating damage done in the past while working toward transformative change.

Deanna Yerichuk (Haldimand Tract/ Waterloo, Ontario, Canada) and Rosa John (Kehewin First Nation, Alberta, Canada): Navigating Indigenous/non-Indigenous Collaborations in Videographic Research We collaborated on Deanna's research project 'Community Music in Canada' which used videographic research to document a music creation project for Indigenous youth, led by Rosa and Melvin John. Rosa will describe their project Naskwahamâtowin, and the kinds of concerns and possibilities of partnering with a non-Indigenous organization, and then both presenters will describe how the video-based research project was set up and implemented to create a micro-documentary and a music video for the song that the youth created. We describe tensions and possibilities in our research collaboration, in particular issues related to consent for Indigenous communities in Canada.