COVID-19 presented many challenges while the shift to online learning also provided unexpected opportunities for music teachers. During the pandemic, two researchers who are teacher educators undertook a composing project with music teacher education students in Scotland and Australia in response to the theme: My Life in Isolation: A World Apart or Same Difference? Turino’s (2008) theory of participatory music making will be drawn upon to analyse this collaborative online music and video creation project. What participation means as a music-maker will be discussed. The paper argues for greater attention to the affordances of digital collaborative music technology tools to build the confidence of pre-service teachers to facilitate real-world composing projects to promote participation, collaboration and social interaction.

The need for effective continuing professional development (CPD) in music education is outlined and literature on CPD for generalist teachers and teaching assistants is reviewed. A small qualitative study is then presented that took advantage of a music-making project led by folk musicians in six special schools in England. This study focused on the generalist teaching staff who actively supported their pupils to participate. The staff reported that their own confidence in working musically had increased, as had their awareness of the importance of music for children. It is suggested that these outcomes were achieved through incidental CPD, potentially paving the way for further, deliberate CPD.

The period 1974–1999 were transition years for government school systems in Australia and New South Wales (NSW), where government agencies issued numerous policies and documents to influence and manage education and resultant classroom pedagogy. During those years, many music syllabi were produced for enactment in NSW, placing multiple demands on teacher accountability. This paper forms part of a larger study involving three generations of music teachers representing different career stages and experiences and presents the voices of the group of experienced music teachers (EMTs), exploring the impact of syllabus change, teacher identity, pedagogical skills, and eventual flourishing as confident teachers.

Widespread research over four decades has shown that musicians suffer physical and psychological injuries that can begin during childhood and early adulthood. A survey of 268 Australian tertiary music students revealed their perceptions of the importance of health education as part of their education. While students rated health knowledge as highly important, they considered its inclusion in their education to be less significant. Thirty-six percent reported current physical pain or injury, and 41% reported current psychological health issues. Significant correlations emerged between students’ reported injury history and prioritisation of health education and particular health topics. This has implications for tertiary music education providers regarding policies for the integration of health education into the curriculum.

El Sistema and Sistema-inspired programmes have become increasingly popular community music education and social welfare initiatives that aim to benefit socially and economically disadvantaged youth. The coronavirus disease 2019 (COVID-19) pandemic significantly disrupted many of these programmes. The purpose of this research was to investigate how eight Canadian El Sistema and Sistema-inspired programmes adapted to the COVID-19 pandemic. We interviewed eight teachers and eight administrators and found that their programming was impacted in relation to four themes: (a) an increased emphasis on social curricula, (b) pedagogical shifts, (c) inclusion of diverse musical voices and (d) adopting anti-racism perspectives. The COVID-19 pandemic response served as a significant catalyst for change for Canadian El Sistema and Sistema-inspired programmes, utilising the disruption to rethink and address participant needs.

Higher music education institutions should continually review their curricula to ensure that their graduates are best equipped to support musical learning for children and young people. Perspectives on early careers in instrumental teaching were obtained via an alumni-led workshop and focus group at a UK conservatoire. Findings revealed that whilst extensive pedagogical training was offered, its value was not fully acknowledged across the institution and that more could be done to alleviate students’ anxieties about their developing musician identities and future stability. As new teachers, alumni are well placed to help prepare students for the professional realities of joining the music education workforce.

Early-career secondary school music teachers navigate many challenges as they settle into the profession. These include consolidating their knowledge of subject content, gaining classroom confidence and honing skills in classroom management. In addition, their sense of belonging can be enhanced by working at collegial relationships within their faculty, across the school and feeling a part of the wider school community. These factors can elicit a ‘make or break’ response for continuing in the profession.

This paper reports on a case study of an Australian early-career secondary school music teacher, in her fifth year in the profession. The case study, as a part of a larger study, sequenced quantitative and qualitative research methods, allowing insight into the music teacher’s working life and enabled the researcher to understand factors that impact daily practice. Themes explored in the study include motivation, perception of value, stress and the difficulties of securing permanent employment. The music teacher presented a positive approach to her work through her development of resilience and shared her future goals and dreams.

This research offers suggestions on how schools and education authorities can best support early-career secondary school music teachers to enable them to become resilient, confident and valued practitioners for the future.

The teaching-learning process, both in general and in the specialty of Music Education, has evolved and its explanatory models have become increasingly complex. In view of current challenges, it is relevant to analyse the elements that are considered necessary to train music teachers to become competent professionals. This study identifies characteristics found in specialised Spanish and international scientific literature on teaching-learning processes in music teacher education, referring to their current state as well as to desirable developments and future prospects. Although a certain overlap among emergent categories in Spain and those in other countries can be observed, we also found differences of degree, as well as interesting divergences.

A tension between freedom and constraint is characteristic of improvisation practice and pedagogy, presenting challenges for teachers/workshop leaders. To create musical focus in ensemble improvisation, some sounds are encouraged, whilst others are edited out, ignored or marginalised. This article investigates improvised sounds as central or subaltern, asking how marginal sounds such as musical ‘heckles’ and off-task sounds can be accepted meaningfully into musical frameworks. I question what can be learned from subaltern sounds. How can power structures within the improvisation workshop be subverted by listening to sounds outside teacher-defined frames, and how can listening become inclusive without sessions descending into chaos?

Music teacher identity is constructed at the intersection between musician and teacher. This study investigated the meaning of music-making among Korean novice music teachers and its role in constructing music teacher identity. Five music teachers participated in this study, and I used two data collection methods, reflective journaling and individual interviews. The results showed that while playing their instruments outside the classroom, several music teachers understood the importance of music in their lives, which was essential in constructing music teacher identities. In addition, playing outside the classroom allowed these participants to demonstrate their musical abilities to students, parents and other teachers and gain credibility as music teachers. However, other participants did not appear to recognise the importance of the intersection between music-making outside the classroom and teaching, which was an obstacle to music-making. Music-making inside the classroom was an important pedagogical tool to teach low-level students effectively. Importantly, regardless of their level of music-making inside the classroom, novice music teachers commonly viewed professional playing skills with primary and secondary instruments as important for teaching.

In recent years, music education has seen a decline in the number of students choosing to continue their studies at Key Stage 4 (14- to 16-year-old students) and choose music as a GCSE option in England. Whilst the English Baccalaureate (EBacc), a school performance measure which excludes the arts, has come under much scrutiny as to its impact on school music, enjoyment and the perceived importance of music lessons could also be contributing factors to low uptake. This paper presents student survey findings from the first part of a two-phase project that was based on a qualitatively driven mixed-method research design. Findings demonstrated that a decline in enjoyment and in the importance attributed to school music occurred in the first three years of lower secondary school (Key Stage 3). The enjoyment of school music was linked with the students’ engagement with practical components of music making, and its importance was mostly equated with future employment opportunities. The findings are discussed in terms of their practical implications in the teaching of music in secondary schools.

The present study aimed to increase understanding of how singing activities may be initiated in primary school, and what support and assistance teachers require to conduct singing activities as an integrated part of the school day. Five music teachers participated in a focus group interview. The following main themes were identified: 1) pedagogical and methodological flexibility, 2) the role of routines and familiarity, 3) the embodied and multimodal dimensions of singing, 4) the importance of accompaniment and instruments, 5) the experience of insecurity and obstacles and 6) the perceived synergies between singing and other learning activities. This knowledge may be important to integrate within music teacher education in order to secure singing’s place in schools.

The study aimed to investigate how students in lower secondary schools in England perceive the subject of music in terms of its importance and enjoyment. Following findings from the first survey phase of the project, it specifically sought to shed light on the reasons why the majority of students decide not to choose music as one of their optional subjects at GCSE level. The paper presents interview findings with students in three schools at the north-east of England following the phenomenographic method of data analysis. Among factors found to impact on students’ decision to continue music at Key Stage 4 (ages 14–16 years) were the desire to spend more time learning music, having more choice and autonomy in the classroom, having more information about the content and requirements of GCSE music, feeling disadvantaged due to not being proficient at instrumental playing and having a limited perception of their own musicality or perceiving music as being elite or difficult. The findings are discussed in terms of their practical implications for the teaching and learning of music in secondary schools.

This exploratory study describes the design and implementation of a sound-based intervention in the initial training of specialist music teachers at a Spanish university. It aimed to create spaces geared towards more creative and contemporary approaches to musical learning in order to gauge the perceptions of trainee teachers regarding this kind of approach. The intervention (45 h of class time) was based on the creation of electroacoustic compositions following the SBM (Sound Based Music) approach using digital tools (Aglaya Play, AP). Qualitative process data were collected through self-reports, individual memories, and nine focus groups. The results suggest that the implementation of new intervention models that take into account the development of future teachers’ creativity with activities focused on exploration, experimentation, and creation with sound can generate new opportunities to enrich their teaching identities.

My role as a university-based, general classroom music teacher educator in England has become unclear, exacerbated by policies that have undermined the field of classroom music in schools and the role of universities in teacher education. Using self-critical inquiry enacted as critically reflexive autoethnography, I interrogated my professional practice to rethink my pedagogic identity. Theoretical perspectives, drawn from Bernstein and Bourdieu, were used to chart my shifting identity. This paper introduces a theorised model to illustrate a range of pedagogic identities for Key Stage 3 (KS3) general classroom music teacher education.

This study aims to increase understanding of the values and outcomes of teacher action research in conservatoire education. Teacher action research has been found to stimulate both professional development and improvement of teaching practice. A multiple-case study design was employed to examine teachers’ activities and their perceptions of the value of action research. Findings from the cross-case analysis include teachers’ perceptions of action research as a way to stimulate the advancement of both their teaching practice and their professional development. Constructive collaborations and self-reflections related to teacher action research were found to reinforce their learning and teaching.

This article critically engages with the discipline of African musics in the academy. It examines the process of curriculum transformation of the African music section at the South African College of Music, University of Cape Town since 2005 as an emergent curriculum model for an integrated approach to the teaching of African musics at universities. The adoption of this curriculum predated the 2015–2016 fervent calls in South Africa to decolonise the university, which necessitates an approach to teaching African musics not rooted in its colonial past. As is known, the study and research of African musics in the academy partly stemmed from the efforts of European (and later US) researchers who often received support through the British colonial administration and much of their output seemed to be focused on convincing their peers about the virtues of ‘African music’ and the study thereof. Despite this history, there is evidence to support the fact that in most African universities, the music departments are far more interested in teaching Western art music and its virtues. In recognition of the calls by students for radical changes to the curricula in South African universities, the article seeks to answer the question ‘how do we consider ongoing changes to the knowledge both received and produced in this field?’

This research explored the impact of informal learning (IL) in primary music initial teacher training. A small group of undergraduate student teachers had an opportunity to learn about and facilitate an IL approach. Data were collected from interviews, participant reflective logs and researcher reflections. The findings show that perceived benefits included freedom for serendipity, pupil autonomy and aural learning; perceived tensions included student teacher anxiety and a lack of teacher control. The researchers propose two aspects for consideration: first, that language associated with IL has social meaning that must be updated; second, that while direct instruction remains at the heart of primary teacher education, IL can continue to be justified despite the current emphasis on direct explicit teaching.

Uncovering the motivations towards a profession may contribute to a better understanding of how the profession is chosen and will be pursued. However, the research on the attractiveness of the music teaching profession is rather limited and predominantly focused on identity development, thereby overlooking other aspects that may play a role. In pursuing a case study, my aim is to contribute to this field of research by investigating the views of pre-service music teachers enrolled at the University of Karlstad in Sweden. The results depict a unique motivational profile compared to their counterparts in other subjects. These differential aspects are threefold, indicating a high prevalence of ‘extrinsic motivations’ driving their choice of profession, that ‘altruistic reasons’ have lower significance as a motivating factor, and that there is a poor perceived relevance of these individuals’ future profession. In addition, this study provides evidence of the prevalence of ‘musician identities’ over ‘teaching identities’ and foresees the dependence between the participants’ motivation and their future students’ progression. Moreover, I hypothesise that career changes and Pygmalion effects are to be expected if intrinsic motivation towards the profession is not fostered or if this population’s motivation is linked to the progress of their students rather than the challenge of motivating them in the first place.

This study examines the learning processes that take place when upper secondary students apply and generate theories while drawing on their preferred music and writing songs of their own. One music theory teacher and two researchers collaborated to design an emergent sequence of lessons focusing on students’ interests, questions and creative work. Interpretive and musical analysis of students’ progress suggests that learning to theorise through modes and sounds from popular music was experienced as motivating, involved similar difficulties as traditional major/minor-based approaches, and resulted in original songs that the students enjoyed and were proud to perform for their peers.