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}
Pub Date : 2025-11-27DOI: 10.1177/02557614251393168
Pamela D. Pike, Carla Salas-Ruiz
This case study explores the effect of using directed practice worksheets and practice logs on student performance, self-reported practice attitudes, and deliberate practice. We compared two groups (control, n = 42; experimental, n = 41) of early intermediate group-piano students ( N = 83). Experimental participants were guided through practice worksheets during two class sessions, while the control group rehearsed without worksheets. Then, all students practiced individually for 1 week before recording the repertoire. Forty participants (control and experimental; purposeful sample) completed individual practice logs; everyone completed practice questionnaires. Performances were evaluated for accuracy and data were triangulated from performance scores, researcher observations, questionnaires, and practice logs. Participants in the experimental groups performed the compositions more accurately and practiced more efficiently, transferring strategies from the practice worksheets to individual practice. Control group participants performed with more mistakes, exhibited less self-efficacy, and cited lack of time, coordination, or ability (rather than lack of deliberate practice) as reasons for poor performances. Implications of using sequenced practice worksheets and journaling to lead students from teacher-directed learning toward independent self-regulation and self-efficacy during practice are discussed in this paper.
{"title":"The Effect of Directed Practice Worksheets and Logs on Individual Practice and Performance Outcomes of Secondary Group-Piano Students","authors":"Pamela D. Pike, Carla Salas-Ruiz","doi":"10.1177/02557614251393168","DOIUrl":"https://doi.org/10.1177/02557614251393168","url":null,"abstract":"This case study explores the effect of using directed practice worksheets and practice logs on student performance, self-reported practice attitudes, and deliberate practice. We compared two groups (control, <jats:italic toggle=\"yes\">n</jats:italic> = 42; experimental, <jats:italic toggle=\"yes\">n</jats:italic> = 41) of early intermediate group-piano students ( <jats:italic toggle=\"yes\">N</jats:italic> = 83). Experimental participants were guided through practice worksheets during two class sessions, while the control group rehearsed without worksheets. Then, all students practiced individually for 1 week before recording the repertoire. Forty participants (control and experimental; purposeful sample) completed individual practice logs; everyone completed practice questionnaires. Performances were evaluated for accuracy and data were triangulated from performance scores, researcher observations, questionnaires, and practice logs. Participants in the experimental groups performed the compositions more accurately and practiced more efficiently, transferring strategies from the practice worksheets to individual practice. Control group participants performed with more mistakes, exhibited less self-efficacy, and cited lack of time, coordination, or ability (rather than lack of deliberate practice) as reasons for poor performances. Implications of using sequenced practice worksheets and journaling to lead students from teacher-directed learning toward independent self-regulation and self-efficacy during practice are discussed in this paper.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"29 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145609799","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 : 2025-11-27DOI: 10.1177/02557614251393940
Michele Biasutti
This study investigates professional conductors’ perspectives on how they prepare for orchestra rehearsals, with a focus on their individual practice routines. A qualitative approach was adopted, using extended open ended questionnaires administered to 12 professional conductors. The responses were analyzed through an inductive process within the principles of grounded theory, leading to the identification of the following themes: interpretative and analytical preparation, technical and organizational strategies, and communication and social dynamics. The findings reveal the strategies conductors employ in preparing orchestra rehearsals. Participants account for the multidimensionality of their work, by acknowledging that it involves the integration of technical precision, interpretive insights, interpersonal communication, and organizational management. Rather than treating these areas as separate, conductors emphasize their dynamic interplay and the need to balance them continuously. They report holistic and purpose-driven strategies supported by self-assessment and reflection, which enhance their adaptability and leadership during rehearsals. The findings highlight the educational importance of metacognitive strategies in the conductor’s preparation, offering a perspective on individual practice techniques that can improve rehearsal outcomes and inform the training of future conductors.
{"title":"Conductors’ Individual Study to Prepare Orchestra Rehearsals","authors":"Michele Biasutti","doi":"10.1177/02557614251393940","DOIUrl":"https://doi.org/10.1177/02557614251393940","url":null,"abstract":"This study investigates professional conductors’ perspectives on how they prepare for orchestra rehearsals, with a focus on their individual practice routines. A qualitative approach was adopted, using extended open ended questionnaires administered to 12 professional conductors. The responses were analyzed through an inductive process within the principles of grounded theory, leading to the identification of the following themes: interpretative and analytical preparation, technical and organizational strategies, and communication and social dynamics. The findings reveal the strategies conductors employ in preparing orchestra rehearsals. Participants account for the multidimensionality of their work, by acknowledging that it involves the integration of technical precision, interpretive insights, interpersonal communication, and organizational management. Rather than treating these areas as separate, conductors emphasize their dynamic interplay and the need to balance them continuously. They report holistic and purpose-driven strategies supported by self-assessment and reflection, which enhance their adaptability and leadership during rehearsals. The findings highlight the educational importance of metacognitive strategies in the conductor’s preparation, offering a perspective on individual practice techniques that can improve rehearsal outcomes and inform the training of future conductors.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"6 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145609795","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 : 2025-11-27DOI: 10.1177/02557614251393873
Diana Tolmie
The value of music to society has been researched in terms of social good and change, positive economic contribution, and the successful educational impact on young people’s cognitive development. Despite this, the government exhibits variable support for music education. An open and closed question survey resulting in 186 mostly Australian musically educated adults pursuing non-music professions enriches the current instrumental music education value discourse. Irrespective of attained music standard, participants identified their instrumental music education developed the foundational transferable skills used and scaffolded within their non-music professions. Through sustained, active, formal and structured learning of complex instruments their transferable music skills cultivated confident, productive, highly focused, team-oriented professional employees representing excellent role models for their peers. Such transferable skills align with current, and future employment skills requirements as recognised by the World Economic Forum. Methods for data interpretation included using the Global Skills Taxonomy revealing there is scope for revision of many international skills frameworks to accurately represent music skill value. Through the lens of transferable music skills, it is possible to communicate the relevance of instrumental music education, contributing to a future-proofed capable workforce building a stronger economy. This study is the largest of its kind and offers a robust foundation for future international studies that may capture the cultural and historical contexts surrounding skill classifications.
{"title":"An Australian Study of Transferable Music Skills: The Impact of Instrumental Music Education on Non-Music Employment","authors":"Diana Tolmie","doi":"10.1177/02557614251393873","DOIUrl":"https://doi.org/10.1177/02557614251393873","url":null,"abstract":"The value of music to society has been researched in terms of social good and change, positive economic contribution, and the successful educational impact on young people’s cognitive development. Despite this, the government exhibits variable support for music education. An open and closed question survey resulting in 186 mostly Australian musically educated adults pursuing non-music professions enriches the current instrumental music education value discourse. Irrespective of attained music standard, participants identified their instrumental music education developed the foundational transferable skills used and scaffolded within their non-music professions. Through sustained, active, formal and structured learning of complex instruments their transferable music skills cultivated confident, productive, highly focused, team-oriented professional employees representing excellent role models for their peers. Such transferable skills align with current, and future employment skills requirements as recognised by the World Economic Forum. Methods for data interpretation included using the Global Skills Taxonomy revealing there is scope for revision of many international skills frameworks to accurately represent music skill value. Through the lens of transferable music skills, it is possible to communicate the relevance of instrumental music education, contributing to a future-proofed capable workforce building a stronger economy. This study is the largest of its kind and offers a robust foundation for future international studies that may capture the cultural and historical contexts surrounding skill classifications.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"110 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145609796","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 : 2025-11-27DOI: 10.1177/02557614251396917
Philip Anderson
Music education provides well-documented classroom benefits, yet generalist teachers often report a lack of readiness to integrate it into their lessons. Using Castells’ theory of identity formation (legitimising, resistance, and project identities) this study investigates teaching confidence among trainee generalist primary teachers in British international schools in the United Arab Emirates (UAE). Using an explanatory sequential mixed-methods design, 18 trainee teachers at a British university branch campus were surveyed about their musical experiences and teaching confidence, with 11 participating in follow-up interviews. Findings revealed that music was ranked lowest among subjects they felt confident teaching, despite most having previous music experience. Analysis showed how dominant Western musical paradigms influenced participants’ self-perception, creating tensions between their diverse musical experiences and perceived professional requirements. These perceptions affected confidence, particularly when teaching older primary students. Despite these challenges, an emergence of teaching methods that offered pathways towards a more inclusive pedagogy was observed in the data. This research contributes to understanding how cultural conceptions of musicality affect teacher confidence and has implications for international teacher education programmes. It recommends developing approaches that help trainee teachers reconceptualise musical knowledge and practice, to embrace more inclusive pedagogical strategies that validate diverse musical experiences.
{"title":"Perceptions of Musicality and Musical Confidence Among the UAE’s Trainee Primary Teachers: Identity Formation in an International Setting","authors":"Philip Anderson","doi":"10.1177/02557614251396917","DOIUrl":"https://doi.org/10.1177/02557614251396917","url":null,"abstract":"Music education provides well-documented classroom benefits, yet generalist teachers often report a lack of readiness to integrate it into their lessons. Using Castells’ theory of identity formation (legitimising, resistance, and project identities) this study investigates teaching confidence among trainee generalist primary teachers in British international schools in the United Arab Emirates (UAE). Using an explanatory sequential mixed-methods design, 18 trainee teachers at a British university branch campus were surveyed about their musical experiences and teaching confidence, with 11 participating in follow-up interviews. Findings revealed that music was ranked lowest among subjects they felt confident teaching, despite most having previous music experience. Analysis showed how dominant Western musical paradigms influenced participants’ self-perception, creating tensions between their diverse musical experiences and perceived professional requirements. These perceptions affected confidence, particularly when teaching older primary students. Despite these challenges, an emergence of teaching methods that offered pathways towards a more inclusive pedagogy was observed in the data. This research contributes to understanding how cultural conceptions of musicality affect teacher confidence and has implications for international teacher education programmes. It recommends developing approaches that help trainee teachers reconceptualise musical knowledge and practice, to embrace more inclusive pedagogical strategies that validate diverse musical experiences.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"148 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145609793","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 : 2025-11-27DOI: 10.1177/02557614251393800
Jennifer Blackwell, Nicholas Matherne
The purpose of this study was to investigate perceptions of rapport and the teaching behaviors of preservice teachers in a beginning band setting. We analyzed videos of preservice teacher lessons from an instrumental ensemble field placement for selected teaching behaviors. We completed a narrative contextual summary for each lesson, and both preservice teachers and students completed a measure of instructor-student rapport. While we found no connections between physical proximity, the kind or quantity behaviors exhibited in teaching, and rapport scores, the narrative summary revealed that the quality of relational behaviors, as well as greater instructional competence, seemed to be associated with higher student rapport scores. Thus, we suggest that high quality, genuine relational behaviors are more likely to foster rapport, rather than the mere presence of behaviors associated with rapport. Additionally, high quality instruction was associated with higher perceived rapport, suggesting that clear, goal-oriented teaching is essential to foster rapport with students.
{"title":"It’s Not What, It’s How: Quantity of Instructional Behaviors Are Not Necessarily Associated with Perceptions of Rapport in Preservice Music Teachers and Students","authors":"Jennifer Blackwell, Nicholas Matherne","doi":"10.1177/02557614251393800","DOIUrl":"https://doi.org/10.1177/02557614251393800","url":null,"abstract":"The purpose of this study was to investigate perceptions of rapport and the teaching behaviors of preservice teachers in a beginning band setting. We analyzed videos of preservice teacher lessons from an instrumental ensemble field placement for selected teaching behaviors. We completed a narrative contextual summary for each lesson, and both preservice teachers and students completed a measure of instructor-student rapport. While we found no connections between physical proximity, the kind or quantity behaviors exhibited in teaching, and rapport scores, the narrative summary revealed that the quality of relational behaviors, as well as greater instructional competence, seemed to be associated with higher student rapport scores. Thus, we suggest that high quality, genuine relational behaviors are more likely to foster rapport, rather than the mere presence of behaviors associated with rapport. Additionally, high quality instruction was associated with higher perceived rapport, suggesting that clear, goal-oriented teaching is essential to foster rapport with students.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"6 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145609832","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 : 2025-11-27DOI: 10.1177/02557614251396910
An De bisschop, Jo Gibson
Participatory music practices—understood here as practices that inherently connect musical and social aims—are growing globally through diverse activity, research and scholarship. Practitioners, as facilitators of such initiatives, are often pivotal to their success and sustainability. This study foregrounds practitioner perspectives to consider what skills and experience they deem necessary for effective practice and ways in which they prepare(d) for practice. It was developed as part of an international research project titled Music for social impact: Practitioners’ contexts, work and beliefs and draws on survey responses and in-depth interviews conducted in Belgium and the United Kingdom. We analysed the data via an inductive approach, using practitioner narratives as a guiding perspective. Across geographical and project differences, practitioners reported similar necessary skills and experience, which we distinguished within three domains: musical, pedagogical and social. Practitioners honed their skills and experience through a variety of preparations; with experiential and peer-learning frequently mentioned. Such on-the-job learning, particularly when working with marginalised communities, raises ethical considerations about how best to prepare and support early-stage practitioners in navigating diverse practice contexts. We suggest that peer-guided experiential learning, cultivating self-directed study and critical reflection, offers an important pathway for practitioners to hone musical, pedagogical and social skills necessary for effective practice.
{"title":"Participatory Music Practitioners’ Skills, Experience and Pathways for Learning: Perspectives From Belgium and the UK","authors":"An De bisschop, Jo Gibson","doi":"10.1177/02557614251396910","DOIUrl":"https://doi.org/10.1177/02557614251396910","url":null,"abstract":"Participatory music practices—understood here as practices that inherently connect musical and social aims—are growing globally through diverse activity, research and scholarship. Practitioners, as facilitators of such initiatives, are often pivotal to their success and sustainability. This study foregrounds practitioner perspectives to consider what skills and experience they deem necessary for effective practice and ways in which they prepare(d) for practice. It was developed as part of an international research project titled Music for social impact: Practitioners’ contexts, work and beliefs and draws on survey responses and in-depth interviews conducted in Belgium and the United Kingdom. We analysed the data via an inductive approach, using practitioner narratives as a guiding perspective. Across geographical and project differences, practitioners reported similar necessary skills and experience, which we distinguished within three domains: musical, pedagogical and social. Practitioners honed their skills and experience through a variety of preparations; with experiential and peer-learning frequently mentioned. Such on-the-job learning, particularly when working with marginalised communities, raises ethical considerations about how best to prepare and support early-stage practitioners in navigating diverse practice contexts. We suggest that peer-guided experiential learning, cultivating self-directed study and critical reflection, offers an important pathway for practitioners to hone musical, pedagogical and social skills necessary for effective practice.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"201 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145609797","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 : 2025-11-22DOI: 10.1177/02557614251393892
Johnny Touchette
The study was aimed to adapt, implement, and reflect on a music production curriculum in public elementary schools while developing an open-access resource for teachers. Two music industry professionals informed the content of the study; four elementary school teachers, including myself, implemented the curriculum; and 28 students from primary, junior, and intermediate grades applied the concepts in various projects. Using participatory action research (PAR) as a methodological framework, I explored the following research question: How can music industry professionals, music teachers, and students collaborate, share ideas and their experiences, to inform a curricular design for public elementary school music education that has music production as its core? I theorized that music production should be introduced earlier than traditionally discussed, at the elementary rather than secondary level. The study followed three phases; (1) music industry professionals informed content development: (2) teachers planned and implemented a flipped classroom approach; and, (3) student feedback and experiences guided the creation of open access video resources. Findings support the early integration of music production in elementary education, emphasizing, but not limited to, vocal mixing, beat making, and recording with digital audio workstations (DAWs).
{"title":"Well DAW! That’s Why I Don’t Sound Like the Recording: Teacher Perspectives on Music Production in Elementary Schools","authors":"Johnny Touchette","doi":"10.1177/02557614251393892","DOIUrl":"https://doi.org/10.1177/02557614251393892","url":null,"abstract":"The study was aimed to adapt, implement, and reflect on a music production curriculum in public elementary schools while developing an open-access resource for teachers. Two music industry professionals informed the content of the study; four elementary school teachers, including myself, implemented the curriculum; and 28 students from primary, junior, and intermediate grades applied the concepts in various projects. Using participatory action research (PAR) as a methodological framework, I explored the following research question: How can music industry professionals, music teachers, and students collaborate, share ideas and their experiences, to inform a curricular design for public elementary school music education that has music production as its core? I theorized that music production should be introduced earlier than traditionally discussed, at the elementary rather than secondary level. The study followed three phases; (1) music industry professionals informed content development: (2) teachers planned and implemented a flipped classroom approach; and, (3) student feedback and experiences guided the creation of open access video resources. Findings support the early integration of music production in elementary education, emphasizing, but not limited to, vocal mixing, beat making, and recording with digital audio workstations (DAWs).","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"14 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145575552","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 : 2025-11-14DOI: 10.1177/02557614251393864
Stephanie E. Pitts, Elizabeth H. MacGregor
Singing in an amateur choir is widely recognised as a source of enjoyment, social connection, and wellbeing. Choir membership in the United Kingdom, however, is at risk of decline through an ageing demographic and lack of diversity, and also through its relationship to historic music education practices, which encouraged singing and knowledge of choral repertoire in ways that are now less prevalent. In partnership with the Peterborough Sings! music education charity, in 2022 we conducted an online survey to investigate factors affecting the development of musical learning and ambition within amateur choirs. In this article, we report on data from choir members ( n = 362) and choir directors ( n = 78), representing over 350 different choirs in the United Kingdom. We focus here on choir members’ perceptions of musical learning and ambition, exploring three primary themes: namely, (i) the impact of audition policies on inclusion and belonging, (ii) the role of prior music education and training among members and directors, and (iii) ambition and affirmation through performing and competing. We compare the relationship between learning and ambition in the auditions, rehearsals, and performances of lower-voice, upper-voice, and mixed-voice choirs, and demonstrate how shared learning goals and styles contribute to success and satisfaction in choral singing.
{"title":"Investigating Amateur Choirs in the United Kingdom as Sites of Musical Learning and Ambition","authors":"Stephanie E. Pitts, Elizabeth H. MacGregor","doi":"10.1177/02557614251393864","DOIUrl":"https://doi.org/10.1177/02557614251393864","url":null,"abstract":"Singing in an amateur choir is widely recognised as a source of enjoyment, social connection, and wellbeing. Choir membership in the United Kingdom, however, is at risk of decline through an ageing demographic and lack of diversity, and also through its relationship to historic music education practices, which encouraged singing and knowledge of choral repertoire in ways that are now less prevalent. In partnership with the Peterborough Sings! music education charity, in 2022 we conducted an online survey to investigate factors affecting the development of musical learning and ambition within amateur choirs. In this article, we report on data from choir members ( <jats:italic toggle=\"yes\">n</jats:italic> = 362) and choir directors ( <jats:italic toggle=\"yes\">n</jats:italic> = 78), representing over 350 different choirs in the United Kingdom. We focus here on choir members’ perceptions of musical learning and ambition, exploring three primary themes: namely, (i) the impact of audition policies on inclusion and belonging, (ii) the role of prior music education and training among members and directors, and (iii) ambition and affirmation through performing and competing. We compare the relationship between learning and ambition in the auditions, rehearsals, and performances of lower-voice, upper-voice, and mixed-voice choirs, and demonstrate how shared learning goals and styles contribute to success and satisfaction in choral singing.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"21 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145515784","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 : 2025-09-25DOI: 10.1177/02557614251339541
David Edmund, Jian-Jun Chen-Edmund, Eltino Pickering
This research study explored the impacts of a community-based youth steel pan ensemble in the United States Virgin Islands (USVI). We examined the organization’s impacts upon its youth members and adult leaders. We employed the AEIOU (Activities, Environments, Interactions, Objects, Users) observation framework to explore the educational and social values resulting from participation in the ensemble. Semi-structured interviews were held with a focus group of youth participants. Data analysis consisted of two-stage coding from survey results, interview transcripts, and additional field notes. Results yielded three primary themes: Musical skills, disciplined behavior, and family orientation. Secondary themes that emerged from the qualitative data were time dedication (as an intervention), life skills, travel experiences, and social connections. Findings suggested that the provision of musical, academic, and social enrichment provide a foundation of success for participants in community-based youth ensemble programs, the likes of which translate to lifelong personal development.
{"title":"Home away from home: An examination of a Caribbean youth steel pan ensemble","authors":"David Edmund, Jian-Jun Chen-Edmund, Eltino Pickering","doi":"10.1177/02557614251339541","DOIUrl":"https://doi.org/10.1177/02557614251339541","url":null,"abstract":"This research study explored the impacts of a community-based youth steel pan ensemble in the United States Virgin Islands (USVI). We examined the organization’s impacts upon its youth members and adult leaders. We employed the AEIOU (Activities, Environments, Interactions, Objects, Users) observation framework to explore the educational and social values resulting from participation in the ensemble. Semi-structured interviews were held with a focus group of youth participants. Data analysis consisted of two-stage coding from survey results, interview transcripts, and additional field notes. Results yielded three primary themes: Musical skills, disciplined behavior, and family orientation. Secondary themes that emerged from the qualitative data were time dedication (as an intervention), life skills, travel experiences, and social connections. Findings suggested that the provision of musical, academic, and social enrichment provide a foundation of success for participants in community-based youth ensemble programs, the likes of which translate to lifelong personal development.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"62 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145141455","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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