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In 2020 the COVID-19 pandemic thrust sudden changes upon music teachers and learners. A learning environment typified by synchronous in-person interactions between teacher and students suddenly be-came impossible due to government mandates. Music teachers overwhelmingly turned to a wide range of technology to respond to these mandates, from video conferencing applications to platforms for musical creativity. One such platform was Soundtrap, a web-based digitalaudio workstation that allows users to record audio and create tracks online and in a collaborative space. Prior research (Knapp et al, in press) documented the growth of Soundtrap in the United States during the pandemic. The present study was a replication of this research tounderstand the effects of the pandemic on the use of Soundtrap in Canadian schools. Using methods common for analysing big data, this study demonstrated there was a sudden and drastic change in Soundtrap's educational user base in Canada on March 23, 2020, and that this change could not have been predicted by the prior number of users. In addition to documenting this important shift in music education practices, this articleargues for the need to develop pedagogies that engage our students in learning as a response to this change. [ABSTRACT FROM AUTHOR]

Although multicultural music education has been on the minds and in the practice of music educators for over fifty years, there still exist many stumbling blocks to choosing repertoire. Teachers in the choir, orchestra, band paradigm use repertoire as a central tenent of their curriculum, but still no definite process exists for choosing appropriate and culturally sensitive repertoire. In this paper I explore several stumbling blocks that music educators might consider, including program notes as curricula, titles as superficial multiculturalism, othering, musical tropes and a general reliance on music publishers to suggest multicultural repertoire. To explore these elements, I focus on three works of repertoire. [ABSTRACT FROM AUTHOR]

More and more primary school children present learning problems, and a significant proportion of these are language-based. Drawing on the theoretical and empirical findings, this article outlines the benefits of rhythmic training for remediation of phonological dyslexia. Three rhythmic activities are proposed to enhance the music teaching practices. [ABSTRACT FROM AUTHOR]

The article presents the observations of a music teacher of her students' practices during practice recess. It relates how students were able to gain control of their own classroom music activity through practice recess. The practice recess allows any student from grades 1 to 5 to come to the music room and play any instrument. Through the practice recess, the teacher was able to realize that musical independence allows students to get what they want and need from formal music lessons.

The article discusses the findings of the current Teachers' Perspectives on Homework Survey in Canada. The survey has revealed that music teachers do not consider assigned practice as homework. It relates the essentialness of practice in traditional music education. It explores the issues that music teachers are facing regarding homework and improving homework to encourage motivation and engagement among students.