Pub Date : 2026-03-21DOI: 10.1177/02557614261430525
Scott Caizley
The UK conservatoire sector remains heavily oversubscribed with privately educated and socioeconomically advantaged students. This study examines the lived experiences of state-schooled students navigating pathways to music conservatoires, framed by Bourdieu’s concepts of habitus, capital and field. Through qualitative interviews with 21 alumni from state school backgrounds, this study examines how the middle-class norms and values embedded in classical music education perpetuate exclusionary practices. Despite financial precarity, imposter syndrome and systemic biases, participants in this study demonstrate resilience and adaptive agency. By amplifying marginalised voices, the research critiques the conservatoire talent pipeline, exposing the symbolic violence embedded in institutional structures. It argues that ‘elite but not elitist’ rhetoric masks deep rooted hierarchies and calls for transformative reforms across the sector. In doing so, the study generates valuable new insights into cultural reproduction, specifically for those pursuing classical music training and makes a significant contribution to conservatoire research.
{"title":"Interrogating the Talent Pipeline: A Bourdieusian Analysis of State-School Educated Students’ Trajectories into UK Music Conservatoires","authors":"Scott Caizley","doi":"10.1177/02557614261430525","DOIUrl":"https://doi.org/10.1177/02557614261430525","url":null,"abstract":"The UK conservatoire sector remains heavily oversubscribed with privately educated and socioeconomically advantaged students. This study examines the lived experiences of state-schooled students navigating pathways to music conservatoires, framed by Bourdieu’s concepts of habitus, capital and field. Through qualitative interviews with 21 alumni from state school backgrounds, this study examines how the middle-class norms and values embedded in classical music education perpetuate exclusionary practices. Despite financial precarity, imposter syndrome and systemic biases, participants in this study demonstrate resilience and adaptive agency. By amplifying marginalised voices, the research critiques the conservatoire talent pipeline, exposing the symbolic violence embedded in institutional structures. It argues that ‘elite but not elitist’ rhetoric masks deep rooted hierarchies and calls for transformative reforms across the sector. In doing so, the study generates valuable new insights into cultural reproduction, specifically for those pursuing classical music training and makes a significant contribution to conservatoire research.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"25 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2026-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147495274","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 : 2026-03-21DOI: 10.1177/02557614261430489
Wong Li Qing Valerie, Julie Ballantyne
This study explores studio music teachers’ motivations for engaging in community music and how these experiences can enhance their teaching approaches. Semi-structured interviews were conducted with studio music teachers in Australia. A qualitative approach using thematic analysis was used to gain insights into their perspectives on community music involvement. Findings identified that being engaged with community music influenced the teaching approaches of studio music teachers in four ways: through student engagement, community engagement skills, managing practical challenges, and career development skills. A conceptual framework of Participatory Music-Making Teaching Methods was developed from the integration of these themes. The framework provides studio music teachers with guidelines towards enhancing their private studio practice to create more holistic, engaging, and effective learning environments for their students. Through this exploration, this study seeks to encourage more music educators to view community music engagements as professionally rewarding opportunities.
{"title":"Studio Music Teachers’ Perceptions Towards Community Music Participation and Its Influence on Their Teaching Approaches","authors":"Wong Li Qing Valerie, Julie Ballantyne","doi":"10.1177/02557614261430489","DOIUrl":"https://doi.org/10.1177/02557614261430489","url":null,"abstract":"This study explores studio music teachers’ motivations for engaging in community music and how these experiences can enhance their teaching approaches. Semi-structured interviews were conducted with studio music teachers in Australia. A qualitative approach using thematic analysis was used to gain insights into their perspectives on community music involvement. Findings identified that being engaged with community music influenced the teaching approaches of studio music teachers in four ways: through student engagement, community engagement skills, managing practical challenges, and career development skills. A conceptual framework of Participatory Music-Making Teaching Methods was developed from the integration of these themes. The framework provides studio music teachers with guidelines towards enhancing their private studio practice to create more holistic, engaging, and effective learning environments for their students. Through this exploration, this study seeks to encourage more music educators to view community music engagements as professionally rewarding opportunities.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"57 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2026-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147495272","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 : 2026-03-11DOI: 10.1177/02557614261428079
Edmond Gubbins
Primary music education teaching and learning practices are significantly influenced by the ideological positionality of teachers, including what it means to be ‘musical’ and what is valued within the music lesson. Uniquely framed through the concept of Althusser’s interpellation, this paper traces the shifts in ideological perspectives of Irish primary generalist teachers regarding their understandings of musicality, and in particular, the notion of musicality as ‘giftedness’. Using Participatory Case Study Research, this study derives data from generalist primary teachers ( n = 3) and students ( n = 137) in the Republic of Ireland across a range of different schools who utilised Musical Futures approaches over the course of a school term. The findings illustrate how engagement in such informal and non-formal teaching and learning pedagogies vis-à-vis Musical Futures approaches acted as a catalyst for the reappraisal of embedded musical beliefs within the primary music classroom, thereby positioning such approaches as a means to address hegemonic structures within primary music education. As teachers confront these ideological assumptions, the paper’s findings shed light on how these shifts have implications for practice within generalist education in the music classroom.
{"title":"Interpellation Through Interpolation: Informal Learning and Non-Formal Teaching as Catalysts for Shifts in Ideological Positionings","authors":"Edmond Gubbins","doi":"10.1177/02557614261428079","DOIUrl":"https://doi.org/10.1177/02557614261428079","url":null,"abstract":"Primary music education teaching and learning practices are significantly influenced by the ideological positionality of teachers, including what it means to be ‘musical’ and what is valued within the music lesson. Uniquely framed through the concept of Althusser’s interpellation, this paper traces the shifts in ideological perspectives of Irish primary generalist teachers regarding their understandings of musicality, and in particular, the notion of musicality as ‘giftedness’. Using Participatory Case Study Research, this study derives data from generalist primary teachers ( <jats:italic toggle=\"yes\">n</jats:italic> = 3) and students ( <jats:italic toggle=\"yes\">n</jats:italic> = 137) in the Republic of Ireland across a range of different schools who utilised <jats:italic toggle=\"yes\">Musical Futures</jats:italic> approaches over the course of a school term. The findings illustrate how engagement in such informal and non-formal teaching and learning pedagogies vis-à-vis <jats:italic toggle=\"yes\">Musical Futures</jats:italic> approaches acted as a catalyst for the reappraisal of embedded musical beliefs within the primary music classroom, thereby positioning such approaches as a means to address hegemonic structures within primary music education. As teachers confront these ideological assumptions, the paper’s findings shed light on how these shifts have implications for practice within generalist education in the music classroom.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"7 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2026-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147393295","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 : 2026-03-11DOI: 10.1177/02557614261428882
Mandy Carver
Today, diversifying the music curriculum is considered a matter of social justice. Although including non-Western and contemporary genres in education is seen as an obvious move, in the context of South African scholar education, the introduction of alternative musical practices has resulted in a misalignment between the curricular conceptual framework and the values of the musical practice. Social realist theorists argue that conceptual knowledge is important because it allows knowledge to be transferred by students. But this is only possible if students can integrate abstract understanding with their empirical experiences, a process described by Maton as semantic waving. Using document analysis, a senior secondary African music curriculum from South Africa is examined for the potential it offers for such integration and application of knowledge. The analysis reveals the complexities of musical knowledge and its articulation in published curricula. It concludes that issues of equity are complicated by curricular structures which do not provide conceptual coherence, and thereby constrain knowledge-building opportunities.
{"title":"Knowledge, Music Education, and Equity: Finding Curricular Coherence for Musical Diversity","authors":"Mandy Carver","doi":"10.1177/02557614261428882","DOIUrl":"https://doi.org/10.1177/02557614261428882","url":null,"abstract":"Today, diversifying the music curriculum is considered a matter of social justice. Although including non-Western and contemporary genres in education is seen as an obvious move, in the context of South African scholar education, the introduction of alternative musical practices has resulted in a misalignment between the curricular conceptual framework and the values of the musical practice. Social realist theorists argue that conceptual knowledge is important because it allows knowledge to be transferred by students. But this is only possible if students can integrate abstract understanding with their empirical experiences, a process described by Maton as semantic waving. Using document analysis, a senior secondary African music curriculum from South Africa is examined for the potential it offers for such integration and application of knowledge. The analysis reveals the complexities of musical knowledge and its articulation in published curricula. It concludes that issues of equity are complicated by curricular structures which do not provide conceptual coherence, and thereby constrain knowledge-building opportunities.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"82 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2026-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147393297","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 : 2026-02-16DOI: 10.1177/02557614261420617
Ana Val-Claraco, Oscar Casanova
Choral rehearsal can be considered a teaching-learning space where conductor partially adopts the role of a teacher. To achieve the desired aim, the conductors must possess numerous skills. In choral conducting expressiveness is one of the key elements to consider. Using a qualitative methodology based on semi-structured interviews with six expert conductors, strategies and tools to enhance expressiveness during rehearsals with amateur choirs of different levels were identified. The analysis suggests that clear and effective communication, including verbal and non-verbal elements, is essential to establish a musical and emotional connection between choir and conductor. The need to adapt expressive gestures to the musical context, the choir’s level, and the phases of rehearsal is emphasized. These insights may provide insight into the importance of providing conductors with training that integrates conducting technique, expressivity, and communication. It also emphasizes the need for observation and self-analysis to enrich conducting practices. Without generalizable conclusions, the study contributes to understanding that expressiveness and communication should be considered as part of conductor training to improve rehearsal dynamics and enhance musical performance. Based on the insights and experiences of the conductors, effective choral conducting requires combining technique, expressiveness, and empathetic leadership to achieve more engaging interpretations.
{"title":"Expressiveness in Choral Conducting: Key Insights and Approaches from Expert Conductors","authors":"Ana Val-Claraco, Oscar Casanova","doi":"10.1177/02557614261420617","DOIUrl":"https://doi.org/10.1177/02557614261420617","url":null,"abstract":"Choral rehearsal can be considered a teaching-learning space where conductor partially adopts the role of a teacher. To achieve the desired aim, the conductors must possess numerous skills. In choral conducting expressiveness is one of the key elements to consider. Using a qualitative methodology based on semi-structured interviews with six expert conductors, strategies and tools to enhance expressiveness during rehearsals with amateur choirs of different levels were identified. The analysis suggests that clear and effective communication, including verbal and non-verbal elements, is essential to establish a musical and emotional connection between choir and conductor. The need to adapt expressive gestures to the musical context, the choir’s level, and the phases of rehearsal is emphasized. These insights may provide insight into the importance of providing conductors with training that integrates conducting technique, expressivity, and communication. It also emphasizes the need for observation and self-analysis to enrich conducting practices. Without generalizable conclusions, the study contributes to understanding that expressiveness and communication should be considered as part of conductor training to improve rehearsal dynamics and enhance musical performance. Based on the insights and experiences of the conductors, effective choral conducting requires combining technique, expressiveness, and empathetic leadership to achieve more engaging interpretations.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"16 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2026-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"146198731","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 : 2026-02-16DOI: 10.1177/02557614251412638
Dorothy Li, Brad Merrick, Leon Rene de Bruin
Musicians often engage in imagery to improve their practice and performance, however, there are experiences that shape preferences and varying approaches to how they engage with imagery and how they may teach imagery. Mental practice and imagery research offers varied nomenclature that span motor-sensory adaptation, refinement, expressive lucidity and goal-orientation that point to self-regulatory concepts in music learning. Exploring what teachers may conceive imagery to be, how teachers formulate upon their early understandings of imagery and how they currently engage with imagery in impactful teaching practice from personal experience is an under-researched area of investigation. This phenomenological study investigated three higher education piano teachers’ use and approaches to imagery by analysing perceptions, attitudes and applications of imagery in teaching within a masters-level music performance course in Melbourne, Australia. Interpretive phenomenological analysis (IPA) revealed differing conceptions of imagery and how it is utilised as a pedagogical tool and the value teachers hold for engaging imagery as a means of approaching planning, performance and reflective practice. The findings highlight social and experiential underpinnings to how imagery is conceived and used as a pedagogy. The study offers implications to activation of imagination in imagery conceptions in applied learning experiences and usage in teaching practices.
{"title":"Higher Education Piano Teachers’ Perspectives to Imagery: A Qualitative Study","authors":"Dorothy Li, Brad Merrick, Leon Rene de Bruin","doi":"10.1177/02557614251412638","DOIUrl":"https://doi.org/10.1177/02557614251412638","url":null,"abstract":"Musicians often engage in imagery to improve their practice and performance, however, there are experiences that shape preferences and varying approaches to how they engage with imagery and how they may teach imagery. Mental practice and imagery research offers varied nomenclature that span motor-sensory adaptation, refinement, expressive lucidity and goal-orientation that point to self-regulatory concepts in music learning. Exploring what teachers may conceive imagery to be, how teachers formulate upon their early understandings of imagery and how they currently engage with imagery in impactful teaching practice from personal experience is an under-researched area of investigation. This phenomenological study investigated three higher education piano teachers’ use and approaches to imagery by analysing perceptions, attitudes and applications of imagery in teaching within a masters-level music performance course in Melbourne, Australia. Interpretive phenomenological analysis (IPA) revealed differing conceptions of imagery and how it is utilised as a pedagogical tool and the value teachers hold for engaging imagery as a means of approaching planning, performance and reflective practice. The findings highlight social and experiential underpinnings to how imagery is conceived and used as a pedagogy. The study offers implications to activation of imagination in imagery conceptions in applied learning experiences and usage in teaching practices.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"45 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2026-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"146198732","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 : 2026-02-14DOI: 10.1177/02557614251393872
Lloyd McArton, Ran Jiang, adam patrick bell, Roger Mantie
Undergraduate music programs in the United States and Canada have been critiqued for their heavy focus on skills and understandings associated with Western Art Music (WAM) traditions. Such traditions have been linked to Eurocentrism, colonialism, anti-Blackness, and inaccessibility. This is problematic for the field of music education when one considers that post-secondary music education programs—the de facto pathway for music teacher licensure—tend to share the same “Eurocentric core” (Walker, 2023, p. 53). This study quantifies the extent to which Canadian undergraduate music education program audition requirements and curricula reflect WAM values and content. The analysis process included database coding and analysis of specific audition requirements and courses required to complete each degree program. Findings confirm anecdotal perceptions that the majority of Canadian undergraduate music education curricula focus predominantly on WAM content.
{"title":"Measuring the Status Quo: Western Art Music in Canadian Undergraduate Music Education Programs","authors":"Lloyd McArton, Ran Jiang, adam patrick bell, Roger Mantie","doi":"10.1177/02557614251393872","DOIUrl":"https://doi.org/10.1177/02557614251393872","url":null,"abstract":"Undergraduate music programs in the United States and Canada have been critiqued for their heavy focus on skills and understandings associated with Western Art Music (WAM) traditions. Such traditions have been linked to Eurocentrism, colonialism, anti-Blackness, and inaccessibility. This is problematic for the field of music education when one considers that post-secondary music education programs—the de facto pathway for music teacher licensure—tend to share the same “Eurocentric core” (Walker, 2023, p. 53). This study quantifies the extent to which Canadian undergraduate music education program audition requirements and curricula reflect WAM values and content. The analysis process included database coding and analysis of specific audition requirements and courses required to complete each degree program. Findings confirm anecdotal perceptions that the majority of Canadian undergraduate music education curricula focus predominantly on WAM content.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"102 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2026-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"146196442","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 : 2026-02-03DOI: 10.1177/02557614261418508
Jovana Blagojević, Katarina Habe
The potential of choral singing to support well-being is increasingly recognized, yet most studies focus on adults or clinical populations. Research examining healthy neurotypical youth choir singers is emerging, but few explore its impact on well-being outcomes. This qualitative study explored how choir participation impacts youth well-being, examining the experiences of Serbian youth choir singers, aged 15 to 24. Focus group interviews were conducted with 26 participants (7 males and 19 females), including members of school and extracurricular choirs, to address motivation for joining, perceived benefits and challenges associated with choir participation, and the role of conductors. Thematic analysis, guided by Self-Determination Theory (SDT) and PERMA well-being frameworks, revealed significant socio-emotional benefits from choir participation. Passion for singing, social connections, and musical skill development were the major motivators for joining. Participants consistently reported benefits, including increased positive emotions, reduced stress, greater confidence, improved social interaction, increased support, personal growth, and the conductor’s encouragement, which were central to their well-being. Challenges like performance anxiety, intergroup dynamics, and rehearsal intensity were observed. The findings highlight the multidimensional benefits of choral singing and its potential to enhance well-being among healthy youth.
{"title":"Youth Well-being Through Choral Singing: Qualitative Study","authors":"Jovana Blagojević, Katarina Habe","doi":"10.1177/02557614261418508","DOIUrl":"https://doi.org/10.1177/02557614261418508","url":null,"abstract":"The potential of choral singing to support well-being is increasingly recognized, yet most studies focus on adults or clinical populations. Research examining healthy neurotypical youth choir singers is emerging, but few explore its impact on well-being outcomes. This qualitative study explored how choir participation impacts youth well-being, examining the experiences of Serbian youth choir singers, aged 15 to 24. Focus group interviews were conducted with 26 participants (7 males and 19 females), including members of school and extracurricular choirs, to address motivation for joining, perceived benefits and challenges associated with choir participation, and the role of conductors. Thematic analysis, guided by Self-Determination Theory (SDT) and PERMA well-being frameworks, revealed significant socio-emotional benefits from choir participation. Passion for singing, social connections, and musical skill development were the major motivators for joining. Participants consistently reported benefits, including increased positive emotions, reduced stress, greater confidence, improved social interaction, increased support, personal growth, and the conductor’s encouragement, which were central to their well-being. Challenges like performance anxiety, intergroup dynamics, and rehearsal intensity were observed. The findings highlight the multidimensional benefits of choral singing and its potential to enhance well-being among healthy youth.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"88 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2026-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"146115674","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 : 2026-01-13DOI: 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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：