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In the coming years, the proliferation of artificial intelligence (AI) will lead to changes and challenges to many traditional practices in school music and beyond, particularly related to student assessment and grading. At the same time, the AI revolution may also facilitate new and exciting directions for assessment and differentiation in music education. In this article, I offer a range of considerations and suggestions for music educators seeking to teach music effectively and ethically in the age of AI. [ABSTRACT FROM AUTHOR]

Although music training has been related to better school performance, the processes that may mediate this improvement are unknown. Given that study habits and techniques are one of the variables most closely related to academic achievement, the present study analyzed the differences in study habits and techniques between children with and without musical training, checking whether the age at which training began is a significant variable and whether study habits and techniques act as a mediator between musical training and academic achievement. A total of 132 children aged 9–12 years from the Autonomous Community of the Basque Country were studied using the Questionnaire of Habits and Study Techniques and school grades. Significant differences were found in the attitude toward study, exams and exercises; personal and environmental conditions for study; and general study habits and techniques in favor of children with musical training. In addition, children who started training before the age of seven showed better results in study habits and techniques. In turn, study habits and techniques significantly mediated the relationship between music training and academic achievement. Therefore, music training, especially before the age of seven, seems to have a beneficial effect on academic achievement, which could be explained, at least in part, by study habits and techniques. [ABSTRACT FROM AUTHOR]

Three years after Japan integrated programming into all elementary school subjects, questions remain on how policy is being put into practice in arts education. This article examines the current state of programming – activities addressing a local version of computational thinking – in music, with a focus on Japan's pending challenges. First, an analysis of 23 activity reports sheds light on the main features of implementation efforts conducted by elementary school teachers from all over the country. Notably, compliance with official guidelines seems to have been prioritized over subject-specific contents, and, in some cases, the mere use of digital technologies in the classroom appears to be more relevant than programming and music-making goals. Following that, two key stakeholders – Japanese professionals engaged in planning and implementing programming in music in elementary schools – provide insights on its present state and future prospects through an open questionnaire. Their often-contrasting answers include perspectives on learning goals, teachers' skills and assessment, as well as their expectations and concerns. A number of unresolved issues and tensions persist regarding how subject contents and programming should be balanced. Given this situation, final remarks address how music-centered, postdigital views of programming may inform future initiatives in the intersection of computing science and music education. [ABSTRACT FROM AUTHOR]

The purpose of this study was to gather and investigate the perceptions of K-12 public school music teachers who have used portfolio-based evaluations in Tennessee. Research questions included: (1) What are the perceptions of music teachers in Tennessee who have used the Tennessee Fine Arts Portfolio Model? (2) Do differences in music teacher perceptions of the Tennessee Fine Arts Portfolio Model exist among a range of backgrounds, and if so, where do those differences exist? Tennessee Music Education Association members (K-12 public school music teachers, N = 98) responded to a researcher-constructed questionnaire. While most respondents scored above or significantly above expectations on the portfolio, their perceptions of the value of the portfolio averaged between neutral (neither agree nor disagree) and negative (disagree). While the most experienced teachers found the portfolio standards harder to implement compared to those who were the least experienced, they also scored higher. Tenured teachers also perceived the standards as significantly harder to implement than those who were not tenured. Finally, those with a bachelor's degree found the portfolio significantly less beneficial, authentic, ideal, and consistent with their goals than their counterparts who earned master's degrees. Recommendations include prioritizing feedback over scoring, localizing portfolio evaluations, and providing tenured teachers with choice in how they are evaluated. [ABSTRACT FROM AUTHOR]

The purpose of this study was to investigate the potential relationship between student enrollment trends in elective secondary music ensembles and music ensemble teacher job turnover. Although student enrollment is widely accepted as an important concern for music educators and a crude proxy measure of music teacher quality, these normative beliefs have not been thoroughly examined empirically. This study tested these beliefs using data from a State Longitudinal Data System to link statewide high school student ensemble enrollment data to teacher workforce data for the academic years 2012 to 2013 through 2019 to 2020. Two-way fixed effects estimators with logistic and multinomial logistic regression showed that decreasing enrollments in high school music ensembles predict music teachers' departure from the profession. A comparative interrupted time-series analysis showed that a change in music teacher does not significantly affect the future enrollment trend of a high school music ensemble program. An exploratory analysis examining the postteaching careers of former high school music teachers showed that the majority of music teachers who exited the profession earned considerably higher wages in their new careers. The authors conclude by discussing the implications of the results for music teachers, music administrators, music teacher education, and future research. [ABSTRACT FROM AUTHOR]

Research suggests that when we treat our non-obligatory activities playfully, we are more likely to engage with them and derive meaningfulness from them. Play is of interest to the field of music education on at least two counts: the perceived relationship between play and music, and the perceived educational aspects of play related to human development and behavior. Using Johan Huizinga's definition of play in Homo Ludens as a starting point, I interrogate the ways in which school music may militate against play efforts in music education. I draw particular attention to the problem of group-based musical performance, competition, and how school music in many jurisdictions has capitulated to an impoverished paradigm of "getting it right." I conclude with a brief appeal to re-center play as critically important to the aims of school music. [ABSTRACT FROM AUTHOR]

(auto)biographical qualitative research and grounded theory, based on their historical and epistemological characteristics. This study in music education aimed to gain an understanding of the process of becoming a primary school music teacher. The Supervised Internship course in teacher education for a music degree was analyzed using the methodological and formative (auto)biographical dispositifs of the Biographical Project Workshop (Delory- Momberguer, 2006) and situational analysis (Clarke, 2005), constructed through the students' oral, written, and musical narratives based on their experiences as music [ABSTRACT FROM AUTHOR]

AbstractIn this article, I examine data generated from a 2020 survey of the North Carolina Music Educators Association (NCMEA) and data on North Carolina public school students and teachers as the focal point for a discussion about diversifying the music teaching profession and music educator association (MEA) membership. Statistical data indicated a significant difference between the racial identity profile of NCMEA membership and that of NC public school students, NC public school teachers, and NC-certified public school music teachers. In each case, statistical differences were driven by an underrepresentation of NCMEA members who identified as Black. The data also showed a significant difference in gender based on NCMEA section membership. Open response data suggested music teachers of color may have disengaged from NCMEA due to a negative organizational climate. Given these data, I discuss policy implications for MEAs to support diversifying membership and improving organizational culture. [ABSTRACT FROM AUTHOR]

Copyright of Orientamenti Pedagogici is the property of Pontificio Ateneo Salesiano (Facoltà di Scienze dell'Educazione dell'Università Pontificia Salesian) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Play-based learning is a well-supported strategy in early childhood and elementary education. However, new research also suggests that teenagers learn well from playing, too. As some attempt to shift toward more learner-centered models, music teachers may find that they need to help students reconnect with the joy and play inherent in authentic learning. This column advocates four strategies to help reinvigorate the high school music class and turn it into an oasis of learning or a much-needed sanctuary in the middle of a student's day. The strategies for using play-based learning with older students can get them more engaged with course content, make natural social emotional learning alignments, create opportunities for students to think differently, and enhance creativity and the desire to learn. [ABSTRACT FROM AUTHOR]

Music education often struggles to sustain students' long-term commitment, with many perceiving lessons as frustrating or unengaging, leading to discontinuation. To address this gap, our study aimed to elucidate the primary reasons for dropout from the perspectives of various stakeholders, including students, parents, teachers, and principals. Drawing upon the self-determination theory, our research comprehensively investigated external and internal factors contributing to dropout. Among external factors, competing extracurricular commitments, music theory and solfége lessons, and teacher's approach emerge as the most prominent. Among internal factors, our findings highlighted the critical role of autonomy, competency, and relatedness in shaping students' decisions to continue or discontinue music education. Inadequate teacherstudent relationships, limited peer interactions, and uninspiring classroom atmospheres significantly impacted dropout. Moreover, challenges in the music school curriculum, such as difficulties with music theory and solfège, resource limitations, and excessive workloads, emerged as prominent barriers to student engagement. By addressing these multifaceted issues, our study underscores the importance of fostering supportive environments that cater to individual needs and interests, ultimately enhancing the overall music education experience and reducing dropout rates. This research represents the first systematic empirical study in Slovenian music education, laying the groundwork for future quantitative investigations to advance education practices in Slovenia. [ABSTRACT FROM AUTHOR]

The present study aimed to increase understanding of how singing activities may be initiated in primary school, and what support and assistance teachers require to conduct singing activities as an integrated part of the school day. Five music teachers participated in a focus group interview. The following main themes were identified: 1) pedagogical and methodological flexibility, 2) the role of routines and familiarity, 3) the embodied and multimodal dimensions of singing, 4) the importance of accompaniment and instruments, 5) the experience of insecurity and obstacles and 6) the perceived synergies between singing and other learning activities. This knowledge may be important to integrate within music teacher education in order to secure singing's place in schools. [ABSTRACT FROM AUTHOR]

In recent years, music education has seen a decline in the number of students choosing to continue their studies at Key Stage 4 (14- to 16-year-old students) and choose music as a GCSE option in England. Whilst the English Baccalaureate (EBacc), a school performance measure which excludes the arts, has come under much scrutiny as to its impact on school music, enjoyment and the perceived importance of music lessons could also be contributing factors to low uptake. This paper presents student survey findings from the first part of a two-phase project that was based on a qualitatively driven mixed-method research design. Findings demonstrated that a decline in enjoyment and in the importance attributed to school music occurred in the first three years of lower secondary school (Key Stage 3). The enjoyment of school music was linked with the students' engagement with practical components of music making, and its importance was mostly equated with future employment opportunities. The findings are discussed in terms of their practical implications in the teaching of music in secondary schools. [ABSTRACT FROM AUTHOR]

This paper attempts to delve more into the complex role that music education plays in both traditional and music schools. Beyond teaching skills, music education frames children's personality and helps them fit in future working environments. Nurturing environments, modelled after music schools, emphasize comprehensive development, integrating cognitive, psychomotor, socioemotional, and artistic aspects. Beyond conventional lines, a holistic approach to education fosters creativity, emotional intelligence, and cross-cultural understanding. Music emphasizes the importance of selfexpression and encourages individuals to explore their own unique voice. It also promotes collaboration and teamwork, as musicians often work together to create harmonious melodies. Additionally, music education has been shown to improve cognitive abilities such as problem-solving and critical thinking skills, which can be applied to various areas of life beyond the realm of music. Music schools emphasize immediacy and subjectivity, whereas traditional schools emphasize different feedback mechanisms. Aligning these components have the potential of enhancing learning opportunities and encourage a more comprehensive approach to learning and evaluation in the traditional school setting. [ABSTRACT FROM AUTHOR]

During his stay at the Groupe de musique expérimentale de Bourges (gmeb), Yves Daoust had the opportunity to attend creative workshops given by the Groupe's mediators to young students. Fond of that experience, many years later, he accepted the smcq's invitation to develop a lutherie that would help open young people up to music creation. With his collaborators, he invented a hardware instrument known as the "Musicolator," then a software version for iPad called the "Fonofone." However, Daoust didn't abandon 'pure' composition entirely and commits to propose a new creative-based approach to music in schools. He has been focusing most of his time for the past 20 years to the development, alongside the tools, of open creative activities that young students and teachers can adopt. [ABSTRACT FROM AUTHOR]

Students who enter middle school may discover few or no opportunities for music participation beyond the Western ensemble paradigm. However, the explorative experiences of elementary general music can continue to thrive in middle school classroom music. In order for middle school classroom music programs to maximize potential, they must be valued and supported equitably, and invite creativity, questioning, and co-learning. In this article, I discuss four guiding principles for a middle school general music curriculum that is culturally responsive, generationally relevant, and student-centered. When teachers adopt these values, middle school classroom music can affirm students' musical and nonmusical identities and pave the way for growth in individuals and the music education, performance, and composition fields at large. [ABSTRACT FROM AUTHOR]

Transmitting traditional music for sustainability has been a common theme in global music education. Recently, the school systems of Hong Kong and Guangdong have been encouraged by governmental authorities to teach Cantonese opera aiming at enhancing the sustainability of the genre and promote a Chinese cultural identity within students. This paper details a survey of school music teachers working in Hong Kong and Guangdong examining the current state of Cantonese opera teaching in the schools of both regions and investigate how it is affected by teacher variables including their interest in Chinese opera, the confidence in teaching the subject, and their perceptions of their Chinese cultural identities. A total of 1,974 valid questionnaires were received and examined. Descriptive and inferential statistics including MANOVA and chi-square tests were used to analyze the data. Findings reveal that Cantonese opera teaching is limited in both regions. While teachers are modestly interested, confident, and knowledgeable about teaching the genre, there is a significant relationship between the music backgrounds of teachers and their interest in Cantonese opera. The article discusses the findings within the context of a historical predominance of Western music within music education curricula and wider societies. Implications for policy makers are proposed. [ABSTRACT FROM AUTHOR]

This study examines the underpinnings of Japan's programming education in elementary school music, officially implemented nationwide in 2020. Through that reform, which has introduced programming thinking (a local version of computational thinking) in all areas of compulsory education, the country follows the international trend of reinforcing IT skills, considered essential for employability. However, Japan's cross-curricular policy raises questions on its implications for the arts, including music. In view of that, this study presents a content analysis of 12 recent Japanese-language sources, selected for reporting about activities that integrate programming education into music in elementary schools in Japan. As part of that analysis, the main objectives of those activities are described and examined together with their approaches to programming and music learning contents. Findings reveal the apparent lack of a specific theoretical framework aimed at music learning goals, and beliefs about a certain affinity between music and programming, only partially defined. They also show tensions between flexible and fixed-goal approaches to compositional activities, as well as several interpretations of IT terms that have permeated music education, namely, algorithm and program. This suggests new roles being attributed to music as a school subject in relation to computer science, a fact that leads to discussion about the need for specific strategies, in view of challenges and goals particular to this country, such as society 5.0. [ABSTRACT FROM AUTHOR]

Can Aristotle's idea of practice be made fruitful for music pedagogical action in schools? That this is the case is repeatedly asserted in the music pedagogical discussion. This article takes up this assertion and develops a proposal for class music making based on Aristotle's theory of action. [ABSTRACT FROM AUTHOR]

The study aimed to investigate how students in lower secondary schools in England perceive the subject of music in terms of its importance and enjoyment. Following findings from the first survey phase of the project, it specifically sought to shed light on the reasons why the majority of students decide not to choose music as one of their optional subjects at GCSE level. The paper presents interview findings with students in three schools at the north-east of England following the phenomenographic method of data analysis. Among factors found to impact on students' decision to continue music at Key Stage 4 (ages 14–16 years) were the desire to spend more time learning music, having more choice and autonomy in the classroom, having more information about the content and requirements of GCSE music, feeling disadvantaged due to not being proficient at instrumental playing and having a limited perception of their own musicality or perceiving music as being elite or difficult. The findings are discussed in terms of their practical implications for the teaching and learning of music in secondary schools. [ABSTRACT FROM AUTHOR]

This article explores some of the intersections and relationships between 'knowledge' and 'social justice' particularly as manifest in the context of English school music education. It takes as its starting point the tensions resulting from different understandings of these terms as revealed in the Society for Music Analysis's (SMA) report 'Questioning the gap in music literacy' (McQueen 2020). Drawing on neo-traditionalist, social realist and constructivist perspectives, different conceptions of musical knowledge and its relationship to social justice are briefly examined. Drawing on the work of John Rawls and Nancy Fraser, the argument is made that socially just approaches to music education are enhanced by going beyond distributive and redistributive paradigms to embrace issues around respect, recognition, and participatory parity. Inter alia, the article examines the challenges resulting from an identity politics approach to social justice, particularly its tendency towards reifying cultural identity and knowledge. The article concludes by suggesting that the tensions around musical knowledge and social justice revealed in the SMA Report might be ameliorated through dialogical approaches to pedagogy that recognise the centrality---but not exclusivity---of the learner's world in endowing meaning on musical knowledge and understanding. [ABSTRACT FROM AUTHOR]

Modern band programs have spread throughout the United States to create learner-centered and culturally affirming school music experiences for children. The four key concepts of modern band, (1) approximation and scaffolding, (2) decision-making, (3) iconic notation, and (4) culturally sustaining (music education), are congruent with many elementary general music philosophies and pedagogies. This article examines intersections of modern band and general music practices and demonstrates how typical classroom instruments (e.g., unpitched percussion, ukuleles, xylophones, and metallophones) can be used to implement key modern band concepts in an elementary school general music setting. [ABSTRACT FROM AUTHOR]

In the publication, we look at some of the modern teaching practices adapted for the music lesson in junior high school. In our practice, we used and combined some information and communication technology (ICT) tools, through which we successfully activated, in parallel with traditional technologies, the development of students' musical education. [ABSTRACT FROM AUTHOR]

The article offers information on Interest Sessions which will be held at the American Choral Directors Association Western Region Conference, to be held in Pasadena, California, from March 6-9, 2024. The sessions include Building a Repertoire of Gestures: Laban Movement for Choral Conductors, Choirs for Change: Programming with Purpose, and Middle School Choral Students: How Do You Motivate Them?.

The purpose of this study was to investigate issues of equity in access, uptake, and outcomes of high school music education in the context of an individual state, Maryland. I explored equity through four angles: (a) representation among music students and teachers, (b) factors associated with access to music courses, (c) student and school characteristics associated with music enrollment, and (d) postsecondary enrollment outcomes of students who did and did not enroll in music. Sample members included all students enrolled in a public high school in Maryland belonging to the 2015 to 2016 ninth-grade cohort (N = 55,500) and public high school teachers (N = 17,250) during the 2015 to 2016 school year. Approximately 22% of all students were enrolled in a music course their ninth-grade year, and there were substantive differences in demographic representation in band, chorus, orchestra, piano, and guitar classes compared to the student body. Logistic regression results showed that school size was the most salient predictor of access to a music course. Multilevel modeling revealed student-, school-, and teacher-level characteristics were all associated with student enrollment in an ensemble music course. Finally, students who enrolled in music courses did not suffer an opportunity cost regarding college enrollment. [ABSTRACT FROM AUTHOR]

Copyright of Croatian Journal of Education / Hrvatski Časopis za Odgoj i Obrazovanje is the property of Uciteljski Fakultet u Zagrebu and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pro Musica Sacra is the property of Uniwersytet Papieski JanaPawla II, Wydawnictwo Naukowe and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista General de Información y Documentación is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Shadow theatre is an educational resource based on the use of silhouettes and the body as a means of communication. It allows the incorporation of music and sound effects that help students discover movement possibilities in the stage space. It also encourages collaborative work through the creation of groups. Therefore, the aim of this research is the incorporation of shadow theatre as a performance art for the promotion of uninhibited corporal expression and group cohesion. An action-research methodology is used to define a didactic proposal that incorporates shadow theatre in the field of music education at primary school. The learning situation is carried out in two public schools in the province of Malaga, with a sample of 213 students. The results indicate that shadow theatre effectively improved pupils' body expression and group cohesion. Some students had initial difficulties, but thanks to the anonymity provided by this resource, fear of ridicule was reduced. It is proposed to compare this resource with theatre in order to define whether the method of incorporating the shadow is really effective. [ABSTRACT FROM AUTHOR]

Copyright of Revista Interuniversitaria de Formación del Profesorado is the property of Asociacion Universitaria de Formacion del Profesorado (AUFOP) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The institutionalization of music in Kosovo emerged as a necessary process, playing a pivotal role in fostering sustainable cultural and social development. Its profound effectiveness became evident in the musical trajectory of cultural advancements from the 1950s and 60s onwards. Music schools stood as the primary catalysts, generating a cadre of music professionals involved in various facets of musical productivity. They provided comprehensive professional training to the entire musical community, encompassing composers, conductors, instrumentalists, and pedagogues, who actively contributed to the vibrant musical activities. The year 1948 marked a significant milestone with the establishment of the first music school, initially named 'Josip Slavenski' and now known as 'Lorenc Antoni,' in Prizren. This was followed by the inception of the music school 'Stevan Mokranjac,' later renamed 'Prenk Jakova,' in Prishtina in 1949. These institutions served as foundational pillars, laying the groundwork for the subsequent development of a multidimensional music landscape. Notably, the establishment of the Higher Pedagogical School (Branch of Music Education) in 1963 and the Music Academy in 1975 represented crucial milestones, marking the expansion and enrichment of the music sector. The period between 1990 and 1999, characterized by a tumultuous socio-political landscape, posed significant challenges to music education. In the years following 2000, music education in Kosovo continued to adapt and evolve, reflecting to the changing socio-political and cultural landscape. This era witnessed new processes of the established institutional forms and typologies, prompting the adoption of new curricula and a reevaluation of music education within the context of the evolving social reality and market demands. Furthermore, the demand for music education continued to grow, leading to the establishment of more music schools and programs throughout the country. In general, since 1948, music education in Kosovo represents an unstoppable process that in terms of historical importance, it represents the cornerstone of all professional musical developments in Kosovo. [ABSTRACT FROM AUTHOR]

An editorial is presented which discusses the role of school music teachers to make children love classical music, especially when such preferences are subjective. It suggests that valuing music education should not involve discouraging students who love different genres and emphasize the importance of recognizing and respecting diverse musical tastes among young learners.

While choices of musical repertory are key to challenging the historical ethnocentrism of school music curricula, ethnocentrism manifests as powerfully in the way a curriculum defines and structures musical knowledge. This article examines the knowledge divisions used to structure one of the most popular and reputable high school music curricula worldwide: the International Baccalaureate (IB). My analysis indicates that, while IB music gestures rhetorically to cultural and epistemic pluralism, its primary knowledge divisions—Musical Perception, Creating, and Performing—are fundamentally rooted in modern Euro-American conceptions of musical knowledge and ways of knowing. This study demonstrates the importance of explicitly acknowledging the epistemic foundations of music curricula's foundations so that teachers and their students can better decide how they want to engage with the knowledge presented. [ABSTRACT FROM AUTHOR]

Research on the origins and functioning of the Wroclaw School of Musicology in the first half of the 20th century. is relevant, since the development of new approaches in modern Ukraine requires the broadest historical generalizations, while the general indicator of the genesis and results of the development of the relevant links of educational institutions indicated in the special literature is not sufficiently covered in the scientific works of Ukrainian and foreign musicologists until our time. This is connected not only with the discovery and analysis of new documentary materials and facts, but also with the unfortunate lack of regular cooperation between the musicology centers of Wroclaw and Lviv at the scientific and educational and methodological levels in the modern period. University musicology of the Wrocław school in the forms of musicological embodiments of the concept of a higher school has become an important factor in the educational completeness of professional musical training, taking into account the organic interaction of the higher level of music schooling with primary and secondary levels, which is broken in the modern Western European musiceducational system. [ABSTRACT FROM AUTHOR]

This historical study is an extension of an earlier study "The Origins of Multicultural Music Education in Chinese Secondary Schools' General Music Classes." In the earlier study, I examined multicultural music education in middle school music classes in the People's Republic of China from 1989 to 2010. The present study examines the same topic during an earlier time period, 1978–1988. Primary sources are national syllabi issued by the Chinese Ministry of Education and State Education Commission. The study concludes that during the time period Chinese multicultural music education highlighted the diversity of Chinese music culture, involving music from 56 nationalities in the People's Republic of China. The findings, along with the findings of the earlier study, reveal trends in multicultural music education in Chinese schools. [ABSTRACT FROM AUTHOR]

This article presents a didactic proposal for teaching musical notation and solfège sight-singing through co-teaching with secondary school students. The goal was to explore the advantages and limitations of using a form of peer learning where students play the role of co-teachers alongside the teacher. We wanted to find out whether this proposal would lead to significant improvements among both co-teachers and tutees, identifying the actions responsible for this progress, and paying particular attention to how students learn in the role of co-teachers. This study was based on a mixed-method explanatory sequential design, where the quantitative data were analyzed first and then the qualitative data. The quantitative results showed statistically significant improvements when comparing the pre-test and post-test results of all the students participating in the didactic proposal. These improvements can be attributed to the personalized support provided by the co-teachers, the opportunities for peer assessment that enabled progress to be monitored and provided feedback, and the possibilities of learning by teaching. In conclusion, the results of this study endorse the viability of student co-teaching in secondary school music education. [ABSTRACT FROM AUTHOR]