Group music making has the potential to develop socio-emotional competences. This study describes how responsibility and respect--both of which are socio-emotional competences--were developed through a socio-musical program, called "Musiquem," in a Spanish primary school. The research consisted of a case study with students from Grades 3…

Collective free music improvisation (CFMI) develops musicians' relationships, identity, and communication skills and engages musicians from different cultures by tapping into their diversities in the music-making process. It also develops an open attitude toward working with children's creative potential--by paving the way for open, egalitarian…

Orchestras all over the world have concert programs in various formats for children, including some designed for preschoolers. Presenting concerts to children in kindergartens and schools is a long-standing tradition in Israel. The uniqueness of these programs and their main innovation is the preparatory work and process through which the children…

This paper presents the results of a study (Johnstone, 2016) which investigated the nature of professional collaboration between the visiting instrumental teacher and the primary school class teacher in the Wider Opportunities instrumental programme. The potential for exchanging knowledge appears to be significant when the visiting instrumental…

Whether by mandate or by personal aspiration, teachers across the United States are compelled to teach in a manner that is culturally relevant to their students. Culturally relevant pedagogy, and its recent iteration, culturally sustaining pedagogy, call for high levels of student achievement, the development of multiple cultural competencies, and…

This practitioner research, conducted by a secondary school music teacher, deals with two complementary questions: the conceptual question how one could define the 'artistry' of a music teacher in the context of his teaching practice, and the empirical question in how far the music teacher's actions can determine the quality of the musical…

This article presents a synthesis of findings from a large-scale research project, the Global Visions Through Mobilizing Networks--Co-developing Intercultural Music Teacher Education in Finland, Israel and Nepal (https://sites.uniarts.fi/web/globalvisions/home), and conveys its theoretical and practical explorations and insights. By envisioning…

The purpose of this mixed methods study was to examine the experiences of music educators who have experience applying Musical Futures strategies in their own practice. This is an innovative program that incorporates cultural, contemporary, and relevant musical learning for young people in Britain. Phase one of the study included multiple visits…

In this article, I draw on my experience as an instrumental tutor with a music program inspired by and explicitly linked to El Sistema, to explore new perspectives on Sistema-based pedagogy and management. Detailed ethnographic description of an orchestral session provides a first-hand account of the program's pedagogy, which I then contextualize…

As tertiary music educators across the Tasman we argue that music, particularly song, is an effective medium for teaching and learning about non-western music when preparing generalist primary Pre-Service Teachers (PSTs). Using "voice" as a portable and accessible vehicle to transmit cultural understandings, we draw on the Zimbabwean…

This paper discusses how ePortfolios, initially introduced to students in a Music Education degree program on a trial basis, are subsequently being integrated into subjects of this degree program. Discussion includes staff perspectives, and covers the varying ways ePortfolio components are utilised in a range of subject areas, issues staff…

Musical Futures is a music learning program that was established in the United Kingdom in 2003. It aims to make secondary classroom music more relevant to young people through engaging them in the informal learning practices of real world musicians, recognising that the way in which popular musicians learn is quite different from the pedagogy of…

General music teachers who use the guitar in their classrooms will find some practical instructional ideas in this article. (Editor/RK)

Despite recent moves toward a more collaborative relationship between the academic pursuit of music analysis and the practical pursuit of music performance, there remains a gulf between the two disciplines. This is partly because attempts at collaboration have generally focused on the use of music performance as a way of teaching music analysis…

Provides some possible ideas for music learning centers focusing on listening activities, music-making, and "potpurri". (Author/RK)