Pub Date : 2026-01-13DOI: 10.1177/02557614251412633
Jennifer L. Gee
The purpose of this study was to investigate elementary preservice teachers’ comfort and perceptions of teaching music throughout their participation in a music integration course. Utilizing a repeated measures design, participants ( N = 112) completed three surveys measuring their conceptual understanding of music integration, anticipated classroom use, and comfort with specific musical and instructional activities. Results indicated statistically significant increases in participants’ comfort with singing alone, singing in small groups, integrating music into classroom instruction, and teaching other subjects. While initial perceptions of music integration often emphasized its subservient use, most participants reported strong intentions to integrate music regularly in future teaching. These findings reinforce the value of hands-on coursework in building preservice teacher comfort and emphasize the importance of equitable access to arts instruction. The study highlights the importance of embedding music integration into teacher preparation programs and suggests that reflective, experience-based instruction can build both pedagogical competence and commitment to music in the elementary classroom.
{"title":"Preparing to Teach with Music: Elementary Preservice Teachers’ Comfort and Perceptions in a Music Integration Course","authors":"Jennifer L. Gee","doi":"10.1177/02557614251412633","DOIUrl":"https://doi.org/10.1177/02557614251412633","url":null,"abstract":"The purpose of this study was to investigate elementary preservice teachers’ comfort and perceptions of teaching music throughout their participation in a music integration course. Utilizing a repeated measures design, participants ( <jats:italic toggle=\"yes\">N</jats:italic> = 112) completed three surveys measuring their conceptual understanding of music integration, anticipated classroom use, and comfort with specific musical and instructional activities. Results indicated statistically significant increases in participants’ comfort with singing alone, singing in small groups, integrating music into classroom instruction, and teaching other subjects. While initial perceptions of music integration often emphasized its subservient use, most participants reported strong intentions to integrate music regularly in future teaching. These findings reinforce the value of hands-on coursework in building preservice teacher comfort and emphasize the importance of equitable access to arts instruction. The study highlights the importance of embedding music integration into teacher preparation programs and suggests that reflective, experience-based instruction can build both pedagogical competence and commitment to music in the elementary classroom.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"29 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2026-01-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145955052","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2026-01-12DOI: 10.1177/02557614251412622
Xin Xie, Sarah Watts
The internationalization of higher education has led to a growing number of international students, particularly from Asia, studying music-related programs in United States, yet little systematic exploration has revealed the experiences of these students and the challenges, successes, and intercultural understandings they must navigate to complete their education abroad. The purpose of this multiple case study was to explore the experiences of East Asian international students in American music education degree programs. The following questions guided this study: What are the experiences of East Asian international students in American music education programs? What differences in school/educational/social cultures are present and how are they navigated? The experiences of four Asian international students were examined through two rounds of in-depth, semi-structured interviews. Data sources for this study included interview transcripts as well as extra information gleaned through the member-checking process. Several themes emerged: navigating professional challenges, language barriers, lack of inclusivity and representation, and navigating cultural differences in educational and social contexts. These findings provide crucial insight for university faculty to foster more inclusive music education environments by emphasizing the importance of mentorship, cultural understanding, and supporting international students’ career development while also recognizing their valuable contributions to the university community.
{"title":"“I seldom see an Asian face”: Experiences of East Asian International Students in American Music Education Degree Programs","authors":"Xin Xie, Sarah Watts","doi":"10.1177/02557614251412622","DOIUrl":"https://doi.org/10.1177/02557614251412622","url":null,"abstract":"The internationalization of higher education has led to a growing number of international students, particularly from Asia, studying music-related programs in United States, yet little systematic exploration has revealed the experiences of these students and the challenges, successes, and intercultural understandings they must navigate to complete their education abroad. The purpose of this multiple case study was to explore the experiences of East Asian international students in American music education degree programs. The following questions guided this study: What are the experiences of East Asian international students in American music education programs? What differences in school/educational/social cultures are present and how are they navigated? The experiences of four Asian international students were examined through two rounds of in-depth, semi-structured interviews. Data sources for this study included interview transcripts as well as extra information gleaned through the member-checking process. Several themes emerged: navigating professional challenges, language barriers, lack of inclusivity and representation, and navigating cultural differences in educational and social contexts. These findings provide crucial insight for university faculty to foster more inclusive music education environments by emphasizing the importance of mentorship, cultural understanding, and supporting international students’ career development while also recognizing their valuable contributions to the university community.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"57 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2026-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145949860","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2026-01-09DOI: 10.1177/02557614251407316
adam patrick bell, Joel Martinez, Fereidoon Tavassoli
To help support students make music in contemporary styles, music education researchers suggest focusing on how contemporary musics are made with current technologies. The purpose of our study was to understand the learning and music-making practices of music producers who use digital audio workstations. We begin our article by examining literature that focuses music production pedagogy outside and inside of schools. Following, we describe our methodological approach—using semi-structured interviews to engage with 13 practicing music producers to understand how they learn to make music with digital audio workstations. Using an inductive thematic analysis approach, we found that music producers find and make beats with YouTube, use trial-and-error approaches and YouTube tutorials to learn how to produce, and use YouTube to make and learn music collaboratively. We conclude by discussing the influence and impact of YouTube on music production pedagogy and its implications for music education.
{"title":"Pedagogy of the Producer: DAWs, YouTube, and Music Education","authors":"adam patrick bell, Joel Martinez, Fereidoon Tavassoli","doi":"10.1177/02557614251407316","DOIUrl":"https://doi.org/10.1177/02557614251407316","url":null,"abstract":"To help support students make music in contemporary styles, music education researchers suggest focusing on how contemporary musics are made with current technologies. The purpose of our study was to understand the learning and music-making practices of music producers who use digital audio workstations. We begin our article by examining literature that focuses music production pedagogy outside and inside of schools. Following, we describe our methodological approach—using semi-structured interviews to engage with 13 practicing music producers to understand how they learn to make music with digital audio workstations. Using an inductive thematic analysis approach, we found that music producers find and make beats with YouTube, use trial-and-error approaches and YouTube tutorials to learn how to produce, and use YouTube to make and learn music collaboratively. We conclude by discussing the influence and impact of YouTube on music production pedagogy and its implications for music education.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"338 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2026-01-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145920118","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-12-29DOI: 10.1177/02557614251404795
Josef Hanson
The role of program leader (also known as “area head,” “coordinator,” or “chair”) in tertiary music education programs is pivotal in terms of administrative oversight and program advocacy, yet seldom researched. The purpose of this study was to explore the experiences of faculty leading music education programs at colleges and universities, with a particular focus on the perspectives and priorities of an international cadre music education faculty serving in the role. Participants ( N = 20) engaged in paired depth interviews in which ten program leaders at U.S. universities were paired with ten such leaders at universities around the world. The paired interviews were recorded, transcribed, and analyzed using an inductive coding process. Findings revealed differences among global music education programs in the areas of curricular specificity and institutional governance that could inform efforts to improve music education policy and practice internationally. Additionally, emergent essences of the experience of serving as program coordinator centered on feelings of imbalance and uncertainty, leading to role strain. Findings of this study suggest numerous implications for the field, including greater equity and transparency in determining program leader duties as well as specific approaches for reducing role strain and supporting faculty well-being.
{"title":"Music Education Program Leadership in Tertiary Education: International Perspectives and the Impact of Role Strain","authors":"Josef Hanson","doi":"10.1177/02557614251404795","DOIUrl":"https://doi.org/10.1177/02557614251404795","url":null,"abstract":"The role of program leader (also known as “area head,” “coordinator,” or “chair”) in tertiary music education programs is pivotal in terms of administrative oversight and program advocacy, yet seldom researched. The purpose of this study was to explore the experiences of faculty leading music education programs at colleges and universities, with a particular focus on the perspectives and priorities of an international cadre music education faculty serving in the role. Participants ( <jats:italic toggle=\"yes\">N</jats:italic> = 20) engaged in paired depth interviews in which ten program leaders at U.S. universities were paired with ten such leaders at universities around the world. The paired interviews were recorded, transcribed, and analyzed using an inductive coding process. Findings revealed differences among global music education programs in the areas of curricular specificity and institutional governance that could inform efforts to improve music education policy and practice internationally. Additionally, emergent essences of the experience of serving as program coordinator centered on feelings of imbalance and uncertainty, leading to role strain. Findings of this study suggest numerous implications for the field, including greater equity and transparency in determining program leader duties as well as specific approaches for reducing role strain and supporting faculty well-being.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"44 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145847244","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-12-12DOI: 10.1177/02557614251393888
Jeffrey Ward, Phillip Payne, Michele Henry
Grounded in previous research regarding admission and graduation standards of music education undergraduate candidates, we created a framework to assess student readiness to enter the music education profession across multiple points of inquiry. To determine the efficacy of the protocols, we conducted a case study to pilot implementation of the protocols with two university music education programs in the United States. Two of the authors–music education faculty at these universities–served as site coordinators implementing the protocols with multiple student cohorts (comprised of first-year, midpoint, and graduates) within their institution. The authors reviewed the reports employing a three-step process. In the first step, a third independent author reviewed both reports while each site coordinator reviewed the other institution’s report. In the second step, the two site reviewers compared their reviews with the other author’s report leading to a “composite review.” In the third step, all three reviewers discussed the two composite reviews to determine recommendations for refining the protocols without disrupting collection of longitudinal data of their pre-service cohorts. Following final analysis, we revised the framework to better fit a full spectrum of universities and align with current best practices in music teacher education.
{"title":"A Case Study of the Implementation of Non-linear Assessment Protocols for Pre-service Music Teachers","authors":"Jeffrey Ward, Phillip Payne, Michele Henry","doi":"10.1177/02557614251393888","DOIUrl":"https://doi.org/10.1177/02557614251393888","url":null,"abstract":"Grounded in previous research regarding admission and graduation standards of music education undergraduate candidates, we created a framework to assess student readiness to enter the music education profession across multiple points of inquiry. To determine the efficacy of the protocols, we conducted a case study to pilot implementation of the protocols with two university music education programs in the United States. Two of the authors–music education faculty at these universities–served as site coordinators implementing the protocols with multiple student cohorts (comprised of first-year, midpoint, and graduates) within their institution. The authors reviewed the reports employing a three-step process. In the first step, a third independent author reviewed both reports while each site coordinator reviewed the other institution’s report. In the second step, the two site reviewers compared their reviews with the other author’s report leading to a “composite review.” In the third step, all three reviewers discussed the two composite reviews to determine recommendations for refining the protocols without disrupting collection of longitudinal data of their pre-service cohorts. Following final analysis, we revised the framework to better fit a full spectrum of universities and align with current best practices in music teacher education.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"59 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145730892","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-12-12DOI: 10.1177/02557614251393955
Benjamin C. Helton, Jonathan G. Schaller
Both teacher and student cultural experiences influence decisions in the music classroom. As more music education scholarship examines these effects, especially through the lens of culturally responsive teaching, there is a need for more research examining the link between culturally responsive practices and music assessment. The purpose of this study was to examine the ways secondary ensemble teachers in the United States consider both musical authenticity and student culture in their assessment practices. The present study utilized both a quantitative survey and phenomenological interviews to address the issues surrounding this linkage. We analyzed each phase of the data collection separately and then interpreted them together to determine music teachers’ willingness and ability to integrate cultural responsiveness into their assessment practices. Music teachers were generally open to culturally responsive assessment practices yet relied mostly on the status quo in their design and implementation. Emergent themes included attempted adaptations for fairness, acculturation of practice, and good faith, but misguided attempts to incorporate culturally responsive principles in assessment.
{"title":"A Mixed Method Exploration of Culturally Responsive Music Assessment Among Music Teachers in the United States","authors":"Benjamin C. Helton, Jonathan G. Schaller","doi":"10.1177/02557614251393955","DOIUrl":"https://doi.org/10.1177/02557614251393955","url":null,"abstract":"Both teacher and student cultural experiences influence decisions in the music classroom. As more music education scholarship examines these effects, especially through the lens of culturally responsive teaching, there is a need for more research examining the link between culturally responsive practices and music assessment. The purpose of this study was to examine the ways secondary ensemble teachers in the United States consider both musical authenticity and student culture in their assessment practices. The present study utilized both a quantitative survey and phenomenological interviews to address the issues surrounding this linkage. We analyzed each phase of the data collection separately and then interpreted them together to determine music teachers’ willingness and ability to integrate cultural responsiveness into their assessment practices. Music teachers were generally open to culturally responsive assessment practices yet relied mostly on the status quo in their design and implementation. Emergent themes included attempted adaptations for fairness, acculturation of practice, and good faith, but misguided attempts to incorporate culturally responsive principles in assessment.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"144 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145730943","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-12-01DOI: 10.1177/02557614251393881
Philip Anderson
Music education integration in primary classrooms continues to challenge generalist teachers, particularly in British curriculum schools in the United Arab Emirates (UAE) where the delivery model favours specialist input. Using the Theory of Planned Behaviour (TPB) framework, this study examined 16 trainee teachers’ intentions to implement cross-curricular musical activities into their lessons. Participants’ attitudes, perceived social norms, and behavioural control regarding music instruction were analysed through interviews, guided seminars, and reflective journaling conducted over an academic year. While trainees acknowledged music’s holistic benefits, significant implementation barriers emerged, including institutional prioritisation of core subjects and perceived student judgement. Trainee confidence in music teaching was heavily influenced by self-perceived musical ability, with reliance on music specialists further diminishing independent teaching expectations. The research reveals complex psychological and systemic obstacles to music education integration. Recommendations include policy adjustments to prioritise music in primary education and sustained musical engagement to enhance trainee teachers’ musical confidence and mitigate this embedded fear of judgement. Future investigations should track early-career teachers’ music integration practices to assess the long-term impact of institutional support and resource accessibility.
{"title":"Trainee Teacher Motivations for Music Integration in UAE Primary Classrooms: A Theory of Planned Behaviour Study","authors":"Philip Anderson","doi":"10.1177/02557614251393881","DOIUrl":"https://doi.org/10.1177/02557614251393881","url":null,"abstract":"Music education integration in primary classrooms continues to challenge generalist teachers, particularly in British curriculum schools in the United Arab Emirates (UAE) where the delivery model favours specialist input. Using the Theory of Planned Behaviour (TPB) framework, this study examined 16 trainee teachers’ intentions to implement cross-curricular musical activities into their lessons. Participants’ attitudes, perceived social norms, and behavioural control regarding music instruction were analysed through interviews, guided seminars, and reflective journaling conducted over an academic year. While trainees acknowledged music’s holistic benefits, significant implementation barriers emerged, including institutional prioritisation of core subjects and perceived student judgement. Trainee confidence in music teaching was heavily influenced by self-perceived musical ability, with reliance on music specialists further diminishing independent teaching expectations. The research reveals complex psychological and systemic obstacles to music education integration. Recommendations include policy adjustments to prioritise music in primary education and sustained musical engagement to enhance trainee teachers’ musical confidence and mitigate this embedded fear of judgement. Future investigations should track early-career teachers’ music integration practices to assess the long-term impact of institutional support and resource accessibility.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"28 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145651500","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-12-01DOI: 10.1177/02557614251396903
Tua Hakanpää, Pirkko Paananen, Marja Ervasti
This study investigates preservice music teachers’ meaningful soundscape memories and how these memories reflect students’ general musical eco-literacy. We ask: Do sound memories reflect the factors in the Paananen model of eco-literacy? A theory-driven content analysis was performed based on the Paananen model’s competency categories. The data entries were analyzed using repeated measures analysis of variance. Fleiss’ kappa was used to check for inter-rater agreement. The competency areas of the Paananen model of eco-literacy in music were present in the university students’ narratives of meaningful soundscape memories. Recognition of eco-literacy from the soundscape narratives was statistically significantly different between the different competency factors, F (3.37, 236.00) = 71.79, p < .001, partial η 2 = .51. Meaningful soundscape memories as written assignments emphasize the cognitive and emotional competency factors in the eco-literate musical thinking of preservice music teachers. A large proportion of the sound memories reflected a strong sense of connection to the natural environment, was positively connected to nature, and depicted a concrete, specific location. Therefore, soundscape memories could be a pedagogical tool for promoting place-specific eco-literacy in the musical sense and in the sense of living an eco-literate life.
{"title":"Preservice Music Teachers’ Soundscape Memories as Indicators of Musical Eco-Literacy","authors":"Tua Hakanpää, Pirkko Paananen, Marja Ervasti","doi":"10.1177/02557614251396903","DOIUrl":"https://doi.org/10.1177/02557614251396903","url":null,"abstract":"This study investigates preservice music teachers’ meaningful soundscape memories and how these memories reflect students’ general musical eco-literacy. We ask: Do sound memories reflect the factors in the Paananen model of eco-literacy? A theory-driven content analysis was performed based on the Paananen model’s competency categories. The data entries were analyzed using repeated measures analysis of variance. Fleiss’ kappa was used to check for inter-rater agreement. The competency areas of the Paananen model of eco-literacy in music were present in the university students’ narratives of meaningful soundscape memories. Recognition of eco-literacy from the soundscape narratives was statistically significantly different between the different competency factors, <jats:italic toggle=\"yes\">F</jats:italic> (3.37, 236.00) = 71.79, <jats:italic toggle=\"yes\">p</jats:italic> < .001, partial η <jats:sup>2</jats:sup> = .51. Meaningful soundscape memories as written assignments emphasize the cognitive and emotional competency factors in the eco-literate musical thinking of preservice music teachers. A large proportion of the sound memories reflected a strong sense of connection to the natural environment, was positively connected to nature, and depicted a concrete, specific location. Therefore, soundscape memories could be a pedagogical tool for promoting place-specific eco-literacy in the musical sense and in the sense of living an eco-literate life.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"168 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145651498","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-12-01DOI: 10.1177/02557614251393875
Donna Hewitt
The purpose of this study was to examine the process of music teacher change resulting from a long-term professional development program in popular music in the United States. Specifically, I sought to examine change in a general music teacher’s beliefs and practices over a 3-year period. I used a case study methodology informed by a pilot study with the same music teacher. Data included observations, interviews, field notes, and artifacts which I used to explore the four conditions necessary to change described by Yang, namely a mismatch between habitus and field, reflexivity, explicit pedagogy, and an open system. While these emerged as important prerequisites of change in the present study, features of the teacher’s agency, including valuing ownership, teamwork, and discipline, emerged as further enabling conditions of change. Additionally, meaningful and impactful professional development is (a) chosen by the teacher, (b) occurs over a sustained period of time, and (c) requires reflection by the teacher regarding their curricular beliefs and practices.
{"title":"The Impact of a Professional Development Program in Popular Music on a Music Teacher’s Beliefs and Practices","authors":"Donna Hewitt","doi":"10.1177/02557614251393875","DOIUrl":"https://doi.org/10.1177/02557614251393875","url":null,"abstract":"The purpose of this study was to examine the process of music teacher change resulting from a long-term professional development program in popular music in the United States. Specifically, I sought to examine change in a general music teacher’s beliefs and practices over a 3-year period. I used a case study methodology informed by a pilot study with the same music teacher. Data included observations, interviews, field notes, and artifacts which I used to explore the four conditions necessary to change described by Yang, namely a mismatch between habitus and field, reflexivity, explicit pedagogy, and an open system. While these emerged as important prerequisites of change in the present study, features of the teacher’s agency, including valuing ownership, teamwork, and discipline, emerged as further enabling conditions of change. Additionally, meaningful and impactful professional development is (a) chosen by the teacher, (b) occurs over a sustained period of time, and (c) requires reflection by the teacher regarding their curricular beliefs and practices.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"1 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145651497","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-12-01DOI: 10.1177/02557614251397330
Katri A. Keskinen
There is a need to understand how higher music education can better adapt to changes in societies and professionalism. As a field that embraces change, popular music voice teaching exemplifies how professionalism can expand. Drawing on theories regarding the evolving concept of professionalism, especially in teaching disciplines, this study examines changes in professionalism within popular music-oriented voice teacher education in higher music education and explores how institutional conditions shape these perceptions and the broader development of professionalism. The multiple case study involved two cases in the Nordic context, in Finland and Sweden, where such education has existed for decades. The research material included semi-structured interviews with teacher educators, observations, a researcher diary, and institutional documents. The abductive analyses utilized a previously constructed framework for popular music voice teachers’ expanding professionalism. The findings suggest that the examined voice teacher education programs foster lifelong learning, reflection, resilience, and collaboration, while emphasizing student agency and competence thinking. The article also discusses how institutional values and contexts, territorialism, and the self-replicative systems of institutionalized teacher education may influence professionalism.
{"title":"Professionalism in Popular Music Voice Teacher Education: Institutional Conditions of a Changing Field in Finland and Sweden","authors":"Katri A. Keskinen","doi":"10.1177/02557614251397330","DOIUrl":"https://doi.org/10.1177/02557614251397330","url":null,"abstract":"There is a need to understand how higher music education can better adapt to changes in societies and professionalism. As a field that embraces change, popular music voice teaching exemplifies how professionalism can expand. Drawing on theories regarding the evolving concept of professionalism, especially in teaching disciplines, this study examines changes in professionalism within popular music-oriented voice teacher education in higher music education and explores how institutional conditions shape these perceptions and the broader development of professionalism. The multiple case study involved two cases in the Nordic context, in Finland and Sweden, where such education has existed for decades. The research material included semi-structured interviews with teacher educators, observations, a researcher diary, and institutional documents. The abductive analyses utilized a previously constructed framework for popular music voice teachers’ expanding professionalism. The findings suggest that the examined voice teacher education programs foster lifelong learning, reflection, resilience, and collaboration, while emphasizing student agency and competence thinking. The article also discusses how institutional values and contexts, territorialism, and the self-replicative systems of institutionalized teacher education may influence professionalism.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"29 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145651499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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