The practice of music diversity is colonialized. Its model is impotent to disrupt the Western canon. On the contrary, the practice has opened the door to sonic materialization and trafficking that has become indicative of the encounter between classical music and other music traditions in higher education. The Global South has become the mining…

How can orchestra teachers diversify curricula to engage young musicians in project-based learning experiences that build their musicianship and confidence? This action research study explores how the author fostered project-based learning experiences that incorporated student reflection and assessment within chamber music ensembles. By…

There has been a steady increase in popular music programs at Higher Music Education Institutions (HMEIs) across Europe. However, what students actually are supposed to learn at popular music bachelor/master programs has remained largely understudied. Based on 12 in-depth interviews with leaders in higher popular music education, this paper…

Current music education curricula across Canada designate Western classical music as the music most worthy of study through emphasis on elements of music that are decidedly Western. Despite the way the curriculum is constructed, many music teachers strive to create diverse programs for their students. In her examination of women's studies…

This article reports on some of the findings from case studies conducted with six secondary school music teachers in New Zealand. The purpose of the study was to investigate and explain the ways in which teachers manage the relationship between classical and popular music in their elective classroom programs, utilizing a theoretical framework…

As the range of experiences offered by conservatoires expands to serve an increasingly diverse student cohort, it is no longer reasonable to assume that all students will fit neatly into the traditional expectations of institutions. In the 3P model of learning, the prior learning of students is one of the presage factors that interact with process…

Contends that teaching music history has traditionally focused on five eras of Western music. Relates these periods to concepts of form, space, and understanding. Acknowledges that music education has been ethnocentric and recommends a more universal music education. (CFR)