This paper explores the relationship between school music and community music in Australia. While many Australian schools and community music activities tend to exist in relative isolation from one another, a range of unique school–community collaborations can be found throughout the country. Drawing on insights from Sound Links, one of Australia's largest studies into community music, this paper explores three case studies of these unique school–community collaborations. These collaborations include a community-initiated collaboration, a school-initiated collaboration and a mutual collaboration. The author brings these collaborations to life for the reader through the words and experiences of their participants, and explores their structures, relationships, benefits, and educational and social outcomes. These descriptions feature important concepts, which could be transferred to a range of other cultural and educational settings in order to foster more vibrant school–community collaborations.

This paper reports on the compositional processes of an Italian rock band whilst composing a new piece over seven group composing sessions. The band members were videotaped during the group composing sessions in their rehearsal room. A qualitative analysis of the video recordings was performed using the Constant Comparative Method. In the analysis, 59 different behaviours emerged, which were subsequently reduced into 13 categories. When analysing the categories, five themes (activities) were defined. The five activities were: context definition, experimenting, constructing, playing and evaluating. The activities were employed as a coding technique for time coding the videotaped data, which revealed the time percentages spent by the musicians in each of the group composing activities. Results from the joint qualitative and percentage time analysis indicate the importance of the strategies adopted by the musicians during group composing. The results are discussed by taking into account the impact of the processes employed in a group composing setting as well as suggestions for future research. The implication for music education involves the possibility to apply approaches based on the development of cognitive processes rather than the product of collaborative composing activities.

The purpose of this article is to analyse three case study examples of musical folkbildning in Sweden. The first case study is from the establishment of the state-funded Framnäs Folk High Music School in the middle of the last century. The second case study, Hagström's music education, is from the same time but describes a music school run by a private company. The third case study concerns a contemporary expression of folkbildning, namely hip-hop. The theoretical framework that inspired this article stems from the work of Pierre Bourdieu. The double feature of folkbildning appears in terms of: elitist and democratic tendencies, high and low taste agendas, control and freedom.

Musical scores constitute a key element in the development of expertise in musicians from western tonal traditions, since they act as a mediator between the performer and the music itself. Our aim was to study the role of musical scores in instrumental performance practice by analysing the process of learning a new piece of music, as well as the frequency of activities related to that score, taking account of situations when studying alone and with a teacher. Sixteen flute students at two different education levels from conservatoires in Madrid participated in an individual semi-structured interview and completed a rating-scale questionnaire. Categorical analysis from interview data revealed differences between levels in relation to the activities they stated that they engaged in when learning new pieces. Results from the questionnaires showed that although students at both levels worked on playing the musical score correctly, higher-level students seemed to pay special attention to artistic issues. The findings are discussed in relation to previous research, as well as their implications for education.

This article explores the relationship between how popular musicians learn and how they subsequently teach, and considers the extent to which they incorporate their own informal learning practices into their work as teachers. A group of eight UK teachers was recruited and data collection, involving interviews and lesson observations, took place between January 2006 and December 2008. Findings are reported here in relation to two teachers in particular, whose learning histories were similar but whose teaching practices were very different. The ways they valued the results of their informal learning practices seemed to determine the extent to which they sought to replicate them in their teaching. There is evidence for the significance of learning histories, and implications for training and professional development.

In a recent article, ‘Sttepping in the right direction? Western classical music in an orchestral programme for disadvantaged African youth’, ‘sttepping’ was noted as no spelling error. The same applies here; reference is to STTEP Music School, an outreach project at the University of Pretoria. STTEP teaches the playing of orchestral instruments, plus background areas like music theory, to disadvantaged learners. Ethnographic and case study research of STTEP, its teachers, pupils and administrators, over the period 2005–2009 was conducted within a sociological meta-theoretical framework. From the hybrid data obtained, conclusions have been drawn, including on observed effects of the African philosophy Ubuntu.

This article discusses the use of action research cycles on a course involving groupwork rehearsing and performance. The aim was to explore various pedagogic aspects of the activities and improve tutor practice. This account of four action research spirals, taking place over a 10-year period of rehearsing and performing, considers their management and operation including activities, interventions, data collection, reflection and re-planning. Conducting action research spirals of this length can raise issues about combining the roles of tutor and researcher, balancing action and reflection, and managing an extensive and varied data corpus. Employing several cycles in an action research inquiry however, allows the retracing of previous interventions, and a fine-tuning of the process. A spiral of cycles, incorporating interventions, together with informal and structured reflection, can be effective in improving practice and adding strength and depth to the inquiry. This study also offers a contribution towards filling the gap in the literature on lengthy cyclical action research studies.

Guided by three theoretical frameworks in vocational psychology, (i) theory of work adjustment, (ii) two factor theory, and (iii) value discrepancy theory, the purpose of this study was to investigate Turkish pre-service music teachers' values and the role of fit between person and environment in understanding vocational satisfaction. Participants were 85 students enrolled in the department of music education in a Turkish university. The Minnesota Importance Questionnaire (MIQ) was used to examine the participants’ values in six dimensions: achievement, comfort, status, altruism, safety and autonomy. Results revealed that the pre-service teachers value achievement most followed by autonomy, which suggests that they would like to have a sense of accomplishment and control in their future job. The degree to which their values fit their predictions about future work environment was found to be highly correlated with vocational satisfaction. These results provided evidence that the vocational theories used in the current study offers a helpful and different perspective to understand the pre-service teachers' satisfaction with becoming a music teacher in the future. We believe that researchers in the field of music education may use these theories and MIQ to examine the role of values in pre-service and in-service music teachers' job satisfaction.

Interactive music video games are a readily available, mainstream technology but they are not generally seen as educative tools. Nor are they established within school teaching and learning environments. This study investigated children's use of these games from a music education perspective. Nine children, aged 9–11 years, and two specialist music teachers each participated in an individual semi-structured interview. The child participants were drawn from four metropolitan schools and the teachers were from different metropolitan schools. Results indicate that the games may help to develop some music skills and knowledge and that the games are of high interest and importance to students. The music teachers acknowledged the potential of interactive music video games to be incorporated into traditional music curriculum but they each expressed a belief that ideally the technology needs further development, including a greater capacity to compose and create using the programs. These findings suggest that, based on constructivist learning theories, there may be a place for these games in music education.

Repertory grids were used as a research tool to explore 73-year-old James’ musical development over two years. Choosing two music learning cultures for his instrumental learning, James learned the piano in a college workshop and the Appalachian dulcimer in his local folk group. There were clear changes in his musical skills and attitudes, particularly in relation to performing and practising, and an increase in his musical maturity as he transformed himself from a music listener into a musical performer, reconstructing himself as an amateur musician. The empowerment gained from his reconstruction was a critical factor in James’ self-fulfilment as a mature-age adult.

Within the context of British initiatives in music education such as the Wider Opportunities programme in England and the recommendations of the Music Manifesto emphasising the importance of singing in primary schools, the current paper explores examples of good practice in whole-class vocal tuition. The research included seven different primary schools in England and combined observational methods and semi-structured interviews with musicians, teachers and headteachers. Results indicate a variety of successful approaches to promoting singing in primary schools. Essential motivators for developing singing include an enthusiastic staff member, a supportive headteacher and support from other school staff. Additional motivators include access to musical expertise within and beyond the school, and a singing leader with keyboard skills. Challenges to good practice centre on the issue of confidence and skill in singing from both teachers and pupils, individually and in groups, recognising and rewarding quality in singing, and the sustainability of externally funded initiatives as pupils move through their schooling and particularly from primary to secondary school. Good-quality support from specialists and external organisations can facilitate good practice in schools, but it seems to be important to integrate singing into children's wider musical learning and development within the curriculum, in the extended curriculum and beyond school in order to help sustain a lifelong interest in singing.

This paper explores patterns of interpersonal behaviour amongst teachers and pupils during one-to-one instrumental lessons. It was hypothesised that these patterns might differ in systematic ways, according to an existing model of six interaction ‘types’ developed within a systems theory perspective and based on measures of interpersonal control and responsiveness. Eleven violin teachers and their pupils aged 10–16 were observed. Digital recordings of 23 one-to-one lessons were analysed using the overarching categories of teacher talk, teacher questioning, scaffolding, pupil talk and pupil playing. Behaviour style was found to correspond with the model of interpersonal interaction in instrumental teaching. Highly directive teachers were found to engage most often in scaffolding, while the most responsive teachers allowed space for the pupil voice to be heard and provided more feedback that was attributed to specific strategies or effort. These findings suggest that teachers and pupils may become entrenched in fixed patterns of interaction behaviour that potentially place constraints on teaching and learning outcomes. The implications for practice lie in teachers’ awareness and reflections on their own interaction behaviours. Being cognisant of fixed patterns of behaviour, teachers may choose to re-frame their style of interaction, thus effecting positive changes in teaching and learning.

For students in Years 1–10 in Queensland, Australia, The Arts (hereafter referred to as ‘arts’) is one of eight Key Learning Areas in the core curriculum. Yet, while arts – comprising five strands including music – is a mandatory component of the curriculum, implementation varies widely. This occurs for a range of reasons, one of which is the common practice that generalist teachers are allocated delivery of the arts programme in their teaching load. Furthermore, research reveals that music and the arts are frequently considered to be the ‘frills subject’ in a school's timetable, often the first to be removed from the timetable when time is short and the first to feel the impact of budget cuts, including the engagement of specialist arts educators (Russell-Bowie, 2004). This study highlights the gap between policy rhetoric for music and the arts and the pedagogical reality in generalist classrooms. Using a narrative informed case study methodology, a story constellation derived from a beginning generalist teacher and a school principal is revealed. The discussion which follows provides a focus, through the generation of key values statements derived from the data, on the tensions this beginning teacher has experienced in his practice as a teacher responsible for teaching music and the arts, juxtaposed with a similar narrative of the school principal.

This article considers some paradigms of educational research, and their relation to teachers’ action research in their classrooms or studios. The positivist/scientific paradigm and the interpretive/naturalist paradigm are examined, with reference to two cases of music teachers’ action research studies. These studies are found to be flawed because the paradigms underpinning them are inappropriate for classroom-based action research. The critical theory approach is also discussed but only briefly, because no instances of music teachers’ action research in this paradigm have been found. The participatory paradigm is explained, with reference to a third case of music teachers’ action research. The article argues that, for teachers’ classroom-based action research, this paradigm is more appropriate than others. It suggests that music teachers’ action research in the participatory paradigm: (a) includes self-study, (b) involves students, (c) considers the influence of context, (d) involves more than one turn of the action research cycle, and (e) engages with, and contributes to, the development of theory.