When young people leave the musical world of their school environment, a lack of clear routes into adult musical engagement brings a risk of wasted ability, motivation and enjoyment, which arguably undermines the value of music education. This study explored the factors that influence continued musical participation among young British adults who had been actively engaged in school music. Musical participation is defined in this research as group music-making in either a formal or informal setting. Participants (n = 102) completed an online questionnaire or were interviewed (n = 6) about their past and present musical experiences along with future expectations for music-making. The stark headline finding was that while 87% of participants had intended to continue with music-making beyond school, only 48% had found groups to join. Nonetheless, 78% expected to continue with music-making in the future. Our research therefore suggests that any break from musical participation need not be permanent for individuals who have established strong musical identities through their early experiences. To conclude, we present a model of lifelong musical participation that illustrates the influences, motivations and choices that contribute to sustained musical engagement.

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.

This study was of adolescent males about their musical self-perceptions and experiences in one Austrian school’s choral music programme. Participants who sang continuously in the school choir reported experiences consistent with flow theory. In contrast, participants who withdrew said that their school choral experiences lacked challenge levels commensurate with their interests and skills and that they wished for greater opportunities for autonomy and control. Participants who never sang in school choir lacked older male singing role models, an element consistent with the theory of possible selves. The study findings reflect those of previous research at The London Oratory. The article closes with implications for research and pedagogy.

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.

This article examines how classical music students understand early twentieth-century recordings in higher music education. A qualitative research method was chosen to investigate the beliefs and self-reported practices of 16 students enrolled in a European conservatoire, whose attitudes were considered through the administration of a semi-structured questionnaire and an interview. Their responses identified seven main themes: 1) beliefs, 2) sources, 3) self-reported practices, 4) repertoires/performers, 5) educational implications, 6) limits and 7) benefits.

Results show how much students value early twentieth-century recordings – especially when it comes to analysing the performance practices of the past and developing new interpretations – and how articulate their responses can be with regard to specific stylistic and technical issues. However, possibly due to informal learning strategies and the lack of curricular teaching activities focusing on listening to and analysing recorded interpretations, some responses highlighted a misrepresentation of our recent musical past and the need for a more structured curricular activity. This last should benefit from a vast body of scholarly literature whose relevance is still underestimated among music practitioners.

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.

Teaching is a highly complex act, and learning to teach in an educational era that combines both teacher-centred and student-centred approaches presents additional challenges. Conducting demonstration lessons (DL) is one of the methods aimed at enhancing teachers’ instructional skills. This study examines the features and functions of this unique type of lesson from the perspective of music demonstration teachers in Guangdong, China. Through observation and interviews, the findings not only reveal the prevalence of DLs as performance-based lessons in Chinese teachers’ professional lives but also explore their distinctions from regular school teaching and their potential for improving teachers’ pedagogical abilities. Concerns and issues related to this type of lesson, along with possible solutions, are also discussed to provide recommendations for incorporating DLs into teacher training programmes in higher education institutions.

Informal music learning, pioneered by Green (2002, 2006, 2017), presents an alternative approach that integrates students’ interests in popular music, bridging the informal and traditional styles of Western music education in schools. We conducted a scoping review adhering to the PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analyses) guidelines to investigate informal music learning. Our scoping review encompasses 28 empirical, peer-reviewed articles published from 2006 to 2023. First, we analyse the diverse contexts, methodologies and geographic locations in which informal music learning has been investigated. Second, we explore how different stakeholders perceive and engage with informal music learning in various educational settings. Lastly, we summarise the implications derived from the analysed studies on informal music learning. Our findings reveal that across various educational contexts, informal music learning has consistently demonstrated its positive impact in motivating students. We also find that researchers have extended their investigations from programme reform to exploring pupil and teacher’s musical identities. Recommendations for future research include exploring informal music learning in ensembles and elementary music classrooms and employing quantitative or mixed methods to assess its effectiveness and impact.

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.

This study investigates teachers’ musical abilities in Shandong kindergartens in China, making a comparison between public and private kindergartens. For this research, five public and five private kindergartens were selected within the same city. The methods of non-participant observation and semi-structured interviews were used to collect data. The findings show that the overall musical abilities of public kindergarten teachers were greater than those of private kindergarten teachers. This study reveals that leadership and government policy are important factors for influencing the results, and puts forward recommendations for making changes in policy to improve teachers’ musical abilities in private kindergartens.

Playful practices have been linked to increased motivation, engagement, learning and skill development. However, limited research has explored what playful music learning might look like for primary schools, and how teachers might incorporate a range of playful music practices within their classrooms. Our conceptual model for playful music learning amalgamates and builds upon previous philosophy, theory and research in the education and music education spheres. In doing so, it extends musical play across a continuum of ownership as has been proposed by Zosh et al. (2017) in the realm of playful learning more generally. Playful elements associated with the work of music education pedagogues Kodály and Kokas and other researchers in the field are outlined. Examples of musical games-play and guided musical play for primary classrooms are illustrated, and some recommendations are provided to support teachers in facilitating increasingly playful music learning.

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.

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.

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.

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.