Collaboration among music educators is an essential practice in building professional relationships, furthering student achievement, and supporting professional learning (Anderson, 2013; Armstrong, 2010; Battersby, 2019; Harris, 2015; Kastner, 2014; Sinberg, 2016). Unfortunately, music educators are quite frequently left out of the collaborative…

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) in the first two terms of the course 2020-2021 through…

The purpose of the study was to investigate secondary choral music educators' and administrators' perceptions of the use of the Mississippi Professional Growth System (PGS) as an applicable tool for evaluating secondary choral music educators. While there is limited research regarding the evaluation of choral music educators, this study aimed to…

"We do not learn from experience. . .we learn from reflecting on experience" (Dewey, 1933). Building on the theoretical frameworks of Dewey and Schön involving reflective practice, we expanded existent reflective research by examining timing of preservice music educators' self-reflections after peer teaching. We examined reflection…

Group teaching is rapidly spreading across the world, but little research has been conducted to investigate its impact on students' musical abilities in comparison to inclusion in group tuition contexts. This article investigates how music teachers from the classical orchestra instrumental tradition discuss group tuition. Three focus group…

The history of female piano teachers, especially those working with children, remains largely unstudied. Estelle Philleo (1880-1936) is one example from the early 20th century who specialized in group lessons for beginners. A New Woman who never married, she began as a junior piano teacher at the Michigan Female Seminary before graduating in 1902.…

The purpose of this study was to examine music teachers' experiences with flow while performing and teaching music. A model with four flow antecedents (Challenge, Skills, Goal Clarity, and Feedback) and three dimensions of flow state (Absorption, Enjoyment, and Intrinsic Motivation) was adopted to investigate music teachers' flow experiences in…

One of the most influential factors in student musical development is feedback. Teachers must think deeply about how to shape their communication with students to provide feedback that can promote student growth while minimizing discouragement and disengagement. Special care needs to be taken when providing feedback to historically marginalized…

There are many models for structuring peer interactions in the music classroom. From peer mentoring to peer tutoring, to other structured interaction models that have emerged from other areas of education, music teachers have many options when considering how to include structured peer interaction activities. This article describes the various…

The purpose of this grounded theory was to discover the process of undergraduate students' music teacher identity development in the first 2 years of their preservice music education program. Participants in this study were 21 undergraduate students from an introduction to music education course. We collected multiple types of data, including…

The aspiring composer's development is commonly described using the metaphor of finding one's own composer voice. A central goal for teaching composition in higher music education is to guide students toward finding such a voice--toward personal expression and creativity. In order to shed light on the teaching strategies associated with this goal,…

The purpose of this multiple case study was to describe how music educators with ADHD believed that their condition shaped their approach to teaching music in secondary ensemble settings. One band, one orchestra, and one choir teacher participated in interviews, observations, and reflective journaling to share their perspectives on how they…

This article documents the collaborative effort of a group of tertiary arts educators from Finland and South Africa. The methodological starting point of this study is collaborative autoethnography, as it focuses on our shared experiences and narratives. The data comprises our personal narratives, in which we highlight unique aspects of our…

The paper looks into the analysis of theoretical findings for comprehending the transmedia and transmedia competence in the light of pre-service music teachers' training. The paper's objectives are to substantiate the transmedia educational projects in music art and disseminate the experience of its development and implementation for enhancing…

How can music educators create an engaging and supportive learning environment in ensemble classes? I propose using storytelling as a teaching tool to foster music learning and musical engagement in a relaxed, inviting, and focused atmosphere. Although storytelling cannot replace traditional teaching methods, it can help students understand…