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.

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.

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.

This article discusses the literature on music teacher education programmes for mainstream education in order to undertake critical reflection on what we are doing and why in our university classrooms, what theories are implicit and what could be done to improve our programmes. After analysis, mainly from European contexts, and considering the Spanish one in particular, we find an influence of the economic – and, ultimately, political – rationale on substantial aspects, manifested in apparent disjunctions between musical and educational features, as well as in formal issues, fundamentally due to the European Higher Education Area. In the end, it is concluded that, without renouncing the economic aspects, curricula should be more addressed towards the integration of pedagogical and musical knowledge, and the treatment of aspects related to social justice, if we do not want an uncritical reproduction of rationalities that are often obsolete in the training of pre-service music teachers.

The role, functions and duties of teachers have dramatically changed with the COVID-19 pandemic. This sudden change has posed enormous challenges for schools, students and teachers. This article deals with the situation of music teaching in the Spanish province of Albacete (Castilla-La Mancha)1 in the first two terms of the course 2020–2021 through face-to-face lessons. A questionnaire, created on music teaching in elementary schools, was answered by 96 teachers, teaching an amount of 35,365 primary education pupils in Albacete. The results of this research show that the everyday teaching has experienced relevant changes, especially in instrumental practice.

This article analyses an interdisciplinary educational experience combining music, ICT, language and art to create an animated story with active listening as a means of improving knowledge of music education practices. The method consisted of a qualitative, exploratory and descriptive study, with a semi-structured open-ended interview and analysis of the corresponding portfolio by both students and teachers with the aim of encouraging systematic reflection on practices and optimising teaching-learning in the nature of action research. The research population consisted of 104 students of the Bachelor’s Degree in Teaching of the Faculty of Education of the University of Alicante (Spain). The results indicated an improvement in music education practices relating to active listening following the pedagogical intervention, leading to the conclusion that inclusion of ICT in music education facilitates real and effective insertion and enhances students’ autonomy in the process of acquisition of musical skills.

Differentiation is a key concept in the Cypriot music curriculum, last revised in 2010. This paper aims to investigate teachers’ interpretation and implementation of differentiation in their music classrooms. Interviews with Cypriot classroom music teachers and focus groups with their students took place within the context of a larger research project that investigated how elements of the Cypriot music curriculum were interpreted and applied by teachers and how this pedagogy in turn influenced students’ motivation. Interviews were carried out with eight music teachers. Differentiation, as understood and implemented by these Cypriot music teachers, differed in fundamental ways to differentiation as conceptualised in academic literature concerned with this concept. These findings may serve as a point of reflection for future professional development in Cyprus relating to differentiation and its implementation.

An undergraduate music class was examined that incorporated the creation of students’ individual original raps. Research was conducted to understand the value of studying rap and its impact upon students’ education. This instrumental case study utilised students’ individual raps as an art-based research component to address three research questions: 1.) How, if at all, does studying hip-hop through the creation of a rap provide a transformative experience and growth in students? 2.) How are student experiences reflected in the use of music composition through the creation of an original rap? and 3.) How does the process of creating an original rap provide insight into students’ experiences?

This article evaluates the impact of volunteering with a music education project for children and adults with learning disabilities on the professional development and career trajectory of music students at a Conservatoire in the United Kingdom. A mixed-methods online questionnaire captured the impact of volunteering with Melody Music Birmingham. Findings suggest that volunteering was a powerful aspect of the respondents’ learning, potentially influencing their career choices, perceptions and attitudes. Further training and experiences for Conservatoire students in engaging with, supporting, and delivering music-making for people with learning disabilities are recommended.

The literature concerning pre-service training in music education for generalist primary or elementary school teachers reveals a long-standing problem for teacher educators: low or poor self-efficacy concerning the teaching of classroom music. Concurrently, a critical examination of training programmes has less often featured, with only limited discussion of digital approaches to classroom music-making constituting the focus of empirical research. Through a focused case study in one Australian university, 136 pre-service teachers participated in a face-to-face module of interactive music education which culminated in a peer-directed collaborative digital music-making project. Pre- and post-surveys were implemented with shifts in pre-service teachers’ self-efficacy measured according to Bandura’s self-efficacy scales. Legitimation Code Theory from the sociology of education then served as an overarching theoretical lens through which to appraise the findings. Despite an enduring self-concept as ‘non-musicians’, the results highlight positive shifts in self-efficacy through the utilisation of peer-directed digital music-making tasks, with implications for teacher training programmes more broadly situated.

A common conclusion drawn from publicly available Higher Education Statistics Agency (HESA) data releases is that Higher Music Education (HME) courses have a predominantly male population. However, HESA data has key issues when examining HME courses: which courses are reported as ‘music’ courses to HESA; how do universities decide which courses are ‘music’ courses; how many different topics are contained within the umbrella of ‘music’ courses? To address questions of gender representation in HME, universities in the UK were approached with Freedom of Information Act requests for the gender demographics of student populations on “music-related” courses. Information was gained on 3456 courses populations between 2014 and 2020, which was categorised by the subject of study. Six core undergraduate topics were identified: generic music degrees (female bias), degrees combining music and technology (male bias), degrees combining music and business (no gender bias), degrees on popular music (male bias), degrees combining music and theatre (female bias) and major conservatoire courses (no gender bias). No area was accurately represented by HESA data, and gender representation varied significantly between areas. These findings have implications for discussions of gender representation in HME across the UK.

The purpose of this study was to explore music performance anxiety (MPA) from music teachers’ perspectives by identifying and describing common coping strategies teachers use to support students with MPA. A quantitative content analysis of scientific and non-scientific MPA literature identified preparation, open communication, realistic expectations, exposure therapy and deep breathing as the five most common coping strategies mentioned in the literature. Qualitative thematic analyses of existing literature and interview transcripts from five piano teacher participants provided descriptions of the five commonly identified coping strategies. A comparison of literature and interview results suggests a gap between research knowledge of MPA and practical teaching application. While music teachers employ a variety of strategies to help students cope with MPA, they may also benefit from formal MPA training opportunities grounded in research to provide additional resources for effectively managing students with MPA.