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The objective of this qualitative research study is to analyze the contemporary transmission methods and educational approaches employed in preserving and revitalizing Chinese Jinghe opera to address current challenges in Hubei Province. The research site, Jingzhou City in Hubei Province, serves as the backdrop for exploring this multifaceted cultural heritage. Nine key informants, including scholars, practitioners, and community members, provide diverse perspectives on Jinghe Opera and its transmission. Semi-structured interviews serve as the basis for data collection, and thematic analysis follows to reveal recurring themes and patterns. The study reveals the historical significance of Jinghe Opera, its evolution, and the critical roles of supporting institutions, such as the Intangible Cultural Heritage Protection Center and Yangtze University. Challenges facing Jinghe Opera, such as a shortage of original works and an aging transmission workforce, are discussed. Proposed solutions include fostering creativity, modernizing education, and establishing institutional support. This research contributes to the broader discourse on cultural heritage preservation and demonstrates the resilience of traditional art forms in a changing cultural landscape.

People's lives tend to the outside world, leading to the waning of cultural preservation values due to the ease with which foreign cultural influences enter and threaten the existence of local culture. To avoid the decline of the younger generation's interest in traditional art, it is necessary to carry out an idea of preservation through education, in this case, social studies subjects at school. This study aims to analyze the relationship between traditional art and social studies as a learning resource. The traditional art discussed in this study is panting music which is traditional arts in South Kalimantan. This is done to get a pattern for preserving traditional arts through social studies subjects. The research method used is qualitative. Data collection is done through observation, interviews, and documentation. Informant this research panting music players, and social studies teachers. The various data obtained are then reduced, presented, and then concluded. The researcher triangulated and extended the observations. The study's results confirmed panting music performance activities could be packaged as social studies learning resources. This is done by integrating class VII textbooks on the theme of cultural and ethnic diversity in the Indonesian traditional musical.

There are many young people playing brass band instruments in Australia, yet there is generally an expectation in secondary education, and almost always in higher education, that students will play orchestral brass instruments. This article explores how schools and tertiary music educations in Australia are equipping students to be 21st century musicians, with a focus on players of brass band instruments. Secondary school students playing brass band instruments are often misunderstood by music teachers and can have trouble fitting in to school music programs. Currently, the only university in Australia that offers a specific brass band subject and lists brass band instruments is Griffith University in Queensland, therefore many dedicated brass band instrumentalists choose to travel overseas for tertiary study. This article seeks to highlight a broader picture regarding music education in Australia, and encourages educators (and institutions) to step out of the conservatory-style specialisation regarding brass instruments.

The academic study of harsh vocals has been gaining traction of late, as the physiology (Eckers et al., 2009), creative attributes (Di Lorenzo & Trantino, 2016) and socio-political ramifications (Heesch, 2019) of usage have been covered in some depth by existing literature. However, formalised pedagogical study around the technique is somewhat lacking, as each vocalist has a unique path to the style and it is highly unlikely to be the result of formal training. In Australia this situation is exacerbated by the relative isolation of the individuals learning due to its small population, large geographic size and relative lack of popularity of heavy metal. This research involved interviewing five active harsh vocalists about their journey to learning and revealed that individuals were unlikely to engage in formal training and were more likely to experiment, seek access to information online and engage with strategies from other vocal styles in order to develop their own sound.

This study investigates the role of Yu Shuxi in the transmission and preservation of Pingdiao Sanxianshu, an intangible cultural heritage, within the context of literacy and education. By analyzing the cultural significance and pedagogical practices of Yu Shuxi's artistry, the research explores the impact of traditional folk arts on literacy development and cultural identity formation. Utilizing qualitative methods, including interviews with key informants and field observations in Baofeng County, Henan Province, the study captures the intricate relationship between individual biographies and broader educational practices. Data analysis reveals how Yu Shuxi's life story and teachings in Pingdiao Sanxianshu contribute to cultural preservation and literacy skills among learners, emphasizing the need for integration of traditional arts in modern education. The results indicate the potential of such arts to enhance critical thinking, linguistic abilities, and cultural literacy. Consequently, the research suggests collaborative measures across educational institutions, governmental policies, and community efforts to ensure the viability and relevance of traditional folk arts like Pingdiao Sanxianshu in contemporary society, maintaining their legacy for future generations.

Chinese Gu Shi Ci art songs are a genre that combines ancient Chinese poetry with music, reflecting profound emotional depth and cultural ethos. The primary objective is to investigate the integration of vocal techniques and musical literacy in the performance of Chinese Gu Shi Ci art songs. The study conducted at Nanchang University and the China Conservatory of Music involved interviews and observations with five key informants: professors, vocal coaches, professional singers, music educators, and opera performers. Data analysis included transcribing interviews, coding for recurring themes, and cross-referencing observational data. The findings reveal that precise vocal techniques, such as breath control and tone modulation, and a deep understanding of the poems' contexts significantly enhance performance authenticity and emotional resonance. The study underscores the need for an integrated curriculum in music education that combines technical skills with cultural and literary education. It suggests incorporating historical context modules, technical workshops, interdisciplinary approaches, performance analysis, and practical opportunities to foster a comprehensive understanding of Gu Shi Ci art songs. This approach can deepen students' appreciation and ensure the rich cultural heritage of these songs continues to resonate with contemporary audiences.

Southern Shaanxi, rich in folk song culture, faces significant challenges in preserving its musical heritage due to rapid modernization, technological advancements, and social changes. The primary objective is to investigate the educational literacy development and transmission processes of Chinese folk songs in Southern Shaanxi under contemporary status. The research site encompasses cities like Hanzhong and Ankang, with seven key informants, including folk song practitioners, educators, cultural experts, students, and community members, provided insights through interviews, observations, and document analysis. Thematic analysis was employed to identify patterns and themes related to educational literacy development, transmission processes, and cultural influences. The results indicate that integrating folk songs into educational curricula enhances language acquisition, critical thinking, emotional expression, and cognitive skills while revealing challenges such as the loss of traditional environments, the complexity of singing techniques, and economic constraints. The study suggests embracing technological innovations, fostering community involvement, and implementing supportive policies to sustain the transmission of Chinese folk songs and promote cultural literacy among younger generations.

The study aims to achieve three primary objectives: (1) To identify essential components for developing an instructional package aimed at enhancing English proficiency among individuals working in the Thai music industry; (2) To design an instructional package specifically tailored to improve the English proficiency of personnel in the Thai music industry; and (3) To implement the developed instructional package and assess its effectiveness in advancing English proficiency among music industry personnel. Employing the principles in developing an ESP course, the study comprises three phases: need analysis, instructional package development, and implementation. The need analysis phase involved surveying 150 individuals employed in the Thai music industry using a structured questionnaire. The instructional package development phase enlisted the expertise of five experts to evaluate the instructional model. Finally, phase three involved administering a pre-posttest study with 30 music professionals. The results highlight the successful creation of an English instructional package based on communicative language teaching (CLT) principles, leading to significant enhancements in participants' English proficiency. The study's significance lies in its identification of English language development needs within the music profession and its provision of a practical methodology for designing specialized English for Specific Purposes (ESP) courses tailored to the unique requirements of music professionals.

Si Zhu Yue music is a traditional Chinese folk music genre characterized by stringed and bamboo wind instruments. It originates from the Yangtze River basin in China. This study aims to propose guidelines for transmitting literacy studies in traditional Chinese folk music in Si Zhu Yue. We synthesize literature to provide insights into the cultural heritages. Three key informants with expertise in Si Zhu Yue music, educational settings, and cultural preservation efforts were purposefully selected to provide diverse perspectives on Si Zhu Yue music's transmission and literacy studies. Data analysis involved qualitative approaches to identify recurring themes, patterns, and insights from interviews and observations. The findings highlight the significance of integrating cultural values into planning processes, the challenges of preservation in the face of modernization and globalization, and the need for innovative approaches to safeguard intangible cultural heritage. Recommendations include prioritizing cultural heritage preservation in planning policies and adopting interdisciplinary approaches to address the complexities of cultural sustainability planning.

The objectives of this research are to study (i) the development of the Lusheng and its relationshipwith Rongshui culture and (ii) the knowledge management for learning arts and culture insouthern China. This research used qualitative research methods by studying documentsand collecting field data through surveys, interviews, observations, group discussions, and workshops. The data was collected from a group of 18 people. The analysis was based on the objectives, and the results were presented in a descriptive-analytical manner. The research results indicated that: (i) Lusheng is an ancient musical instrument in the bamboo family that has spread throughout Asia, This instrument has evolved differently in difference regions. This musical instrument is closely related to the way of life of people in southern China. People use it as a show for entertainment during important festivals. They believe that the worship of ancestors and gods can protect one's life. Lusheng culture has artistic value and should be studied to be photographed for future generations. (ii) The knowledge of Rongshui Lusheng, a wind instrument made from bamboo, is a valuable musical and dance cultural heritage and deserves to be carefully studied through systematic inheritance. It was found that it is a teaching activity in educational institutions starting in primary school. Secondary and higher education learning in this study has two characteristics: Learning to produce Lusheng and practicing playing Lusheng, which must create a melody. The rhythm goes along with the related dance. In summary, this study can be used as a guideline for the conservation and inheritance of cultural heritage as well as a guideline for teaching and learning for the transmission of artistic and cultural heritage.

This reflective essay addresses the nexus of two recent events in the United States: (1) the public scrutiny of the relationship between land grant universities and the expropriation of Indigenous lands and (2) the often uncritical and rapid uptake of settler land acknowledgments at public college and university events. We argue that written land acknowledgment statements need to accompany actions that align with declarations of respect and honor. Specifically, we offer readers three concrete ideas through which institutions may further land acknowledgments: challenging their historical legacies, fostering meaningful partnerships with Native Nations and Indigenous Peoples, and materializing resources for this highly underserved, long-neglected, often ignored community.

Integrating internationalized songs into English language teaching has emerged as a dynamic strategy to ignite students' interest and enhance their language proficiency. This article comprehensively explores internationalized songs' significance in language education. A central focus lies on a detailed case study that demonstrates how the expertise of a Turkish musician was leveraged to select and that of field experts to translate and refine a local children's song for educational purposes. The study meticulously details the collaborative efforts among educators to tailor the song's content to meet language learning objectives, highlighting the transformative potential of such initiatives in the English language classroom. By immersing themselves in this practical example, educators can gain invaluable insights into the versatility of internationalized songs as effective tools for language instruction, thereby enhancing their teaching practices. Furthermore, the article underscores the importance of incorporating cultural elements into language teaching materials to foster intercultural competence among students. Educators can create immersive learning experiences that promote linguistic proficiency, cultural awareness, and appreciation by integrating internationalised songs.

The study's objectives were to present a way for transmission Yi folk songs into educational institutions in Liangshan and Chuxiong prefectures, China. This study is qualitative. Interviewing inheritors of Yi folk songs, for instance, as well as consulting relevant literature and materials. The field investigation method was used for data collection and research, and informants included: 8 inheritors of Yi folk songs in the two places; 6 vocal actors who are professionally engaged in singing Yi folk songs in the two places; 4 leaders of primary and secondary schools and local universities in the two places; 4 music teachers from primary schools and local colleges; and 8 students from primary and secondary schools and local colleges in the two places. According to the results of this study, Yi folk songs should be taught in elementary and secondary schools to improve art and promote national pride. Mixing Yi folk songs into teaching activities, using the new experiential method of teaching, and organizing practical activities outside of school are all effective ways to spread the culture and bring folk songs back to life. Folk song art festivals on college campuses, the formation of professional art groups, and the spread of Yi folk songs in local universities are all excellent ideas that should be encouraged. Teachers should hire Yi folk song inheritors to perform and sing for them, and more teachers should be trained to be good inheritors.

This study focuses on the preservation and literacy transmission of the Mor Lam Khon Kaen style by the Rattanasin Intathairat Group and presents insightful findings in three knowledge-related aspects. In terms of knowledge definition, the Mor Lam Khon Kaen performance encompasses the preservation of its distinct identity, the collaborative exchange of knowledge among performers facilitated by Mrs. Chawala, the composer, and the meticulous memorization process of Klon Lam poems. Knowledge management within the performance involves the leadership of Mrs.Chawala, who guides the ensemble to ensure authentic Mor Lam Phuen style preservation over four evolving periods. This process entails systematic storage and retrieval through Klon Lam compilation, utilizing digital platforms for dissemination, and employing collaborative learning techniques. In the literacy transmission process, the Rattanasin Intathairat Group's inclusive approach welcomes disciples, emphasizes Klon Lam memorization, and adapts the timeframe to individual progress. The study's comprehensive insights shed light on the intricate interplay of preservation, literacy transfer, and community engagement within the Mor Lam tradition.

Throughout the history of classical music piano, various schools have emerged, often named after cities such as London, Vienna, and Hamburg. Today, it is widely accepted that there are three major piano schools: the French, German, and Russian schools. This study briefly mentions the history of Russian classical music and the development of the piano school in the country. It explores the individuals who played a significant role in this process and the techniques they employed in piano education. The main objective of the study is to determine the development of the piano school in Russia, the key influencers in this process, and the techniques used in piano education. The study employed a literature review and semi-structured interviews. As a result of the study it can be said that many important artists and teachers, especially Anton and Nicolai Rubinstein, created a classical music culture and tradition in Russia. Piano education based on a solid foundation, combined with the musical talent of the Russian nation, has enabled Russia to become one of the leading countries in piano performance today.

The Salar vocal folk music is a unique intangible cultural heritage of the Salar ethnic minority in Qinghai Province, China. The objective of this interdisciplinary study is to investigate the role of education and literacy in the preservation and transmission of Salar vocal folk music in Qinghai Province, China. The research site, Xunhua Salar Autonomous County, serves as a cultural epicenter where Salar traditions have thrived for centuries, providing an authentic setting for immersive fieldwork. Key informants include Salar musicians, educators, community leaders, and government officials who play vital roles in the preservation and transmission of this heritage. Data was collected through participant observation, interviews, and documentation of Salar vocal folk music performances. Musicological analysis and preservation and transmission theory were applied to the data, revealing the historical roots, cultural significance, and current challenges faced by Salar vocal folk music. The study culminates in guidelines for the preservation and transmission of this tradition, emphasizing government support, modernization, education, innovation, diverse communication, and legal safeguards.

Chinese Sani folk songs, originating from the vibrant culture of the Sani people in Kunming City, Yunnan Province, represent a precious tapestry of musical heritage. This research aims to examine the preservation and promotion of cultural literacy through the education of Chinese Sani folk songs in Kunming City, Yunnan Province. Esteemed Sani scholars, composers, and song transmitters serve as key informants, providing valuable insights into the multifaceted process of preserving and promoting this cultural treasure. A mixed-methods approach is employed. Combining qualitative interviews and quantitative questionnaires, this research offers a comprehensive perspective on Sani folk song preservation. The results highlight the importance of education, legislative support, cultural promotion, and collaboration with universities in preserving Sani folk songs. Suggestions include the establishment of folk song learning workshops, youth education programs, the preservation of traditional living environments, and the creation of a Sani folk song database. Overall, this research underscores the urgency of safeguarding this unique cultural heritage and contributes to the global discourse on preserving endangered folk music traditions.

This comprehensive study focuses on the preservation of Shiping Folk Songs in Weiyuan County, China, with an emphasis on education, literacy, and the critical role of diverse stakeholders. The study emphasizes the region's cultural relevance as well as educational programs, highlighting the critical role of schools in promoting cultural literacy and ensuring the preservation of Shiping Folk Songs. In addition, the research investigates the roles of Hakka folk musicians and singers in the transmission and development of this national folk music tradition. Government policy and assistance have been recognized as critical components for managing budgetary restrictions and executing preservation and development programs. The participation of local higher education institutions and cultural research units in the preservation of Shiping folk music is also carefully investigated, highlighting their critical significance in furthering cultural heritage. This multimodal approach emphasizes the interplay of education, literacy, and preservation in maintaining the vibrancy of Shiping Folk Songs, providing significant insights into the long-term preservation of this cultural asset.

Huai Opera is a traditional Chinese operatic form known for its distinctive vocal techniques,melodic tunes, and captivating storytelling, originating from the Huai River region in China. Thestudy's primary objective is to investigate vocal technique literacy in Huai Opera for school-based musicians education in Shanghai Municipality, China. Anchored in musicology and ethnomusicology, this research is conducted within the School of Huai Opera, encompassing the Southern and Northern Schools, known for their distinctive regional influences and vocal styles. Two key informants,a seasoned Huai Opera performer and vocal instructor and an accomplished ethnomusicologist,lend their unique insights to shed light on the multifaceted nature of vocal technique literacy inHuai Opera education. The structured interviews and systematic observations that were used tocollect data are carefully analyzed to show the different breathing techniques, vocal techniques, and rhythms that makeup Huai Opera's vocal technique literacy curriculum. The study's finding sunderscore the significance of integrating traditional arts into contemporary education systems to preserve cultural heritage and enrich students' educational experiences. It emphasizes the need for innovative pedagogical approaches and highlights the role of traditional arts in nurturing cultural engagement among youth.

This article explores how music and lyrics serve as modes of storytelling in the language classroom, integrating a multimodal approach and the World-Readiness Standards for Learning Languages. In the 'Sing My Story' project, language students creatively write their own lyrics, which are subsequently performed by either student musicians or target language-speaking musicians within the school community. This initiative encourages students at the Intermediate or Advanced proficiency levels to collaboratively produce a music album, creating narrative lyrics for existing songs. Through this project, students are provided with opportunities for meaningful language application, fostering creative and transformative language learning experiences.

The study focuses on the preservation and transmission of Gannan Tea Picking Opera knowledge after the Cultural Revolution in 1949 using qualitative research methods such as interviews and observations with seven key informants. The following findings were obtained, which can be divided into three distinct periods: The tortuous development phase from 1949 to 1966 marked significant growth and development, with the establishment of specialized schools and the implementation of the "three reforms" contributing to knowledge transmission and preservation. The survival dilemma period from 1966 to 1976 during the Cultural Revolution imposed constraints on artistic expression, but the return of artists from rural areas and their role in recruiting apprentices supported the continuity of Gannan Tea Picking Opera. Finally, the Ganzhou Gannan Tea Picking Opera Troupe and educational institutions contributed to the revival of this traditional art form during the period of rebirth from 1976 to 2023. Retired artists continue to play a vital role in knowledge preservation and dissemination, reflecting the enduring resilience of Gannan Tea Picking Opera.

Miao Nationality music represents a profound and longstanding musical heritage from the cultural legacy of the Miao community in Yunnan Province, China. This qualitative research study endeavor aims to explore the historical development and transmission of Miao Nationality music, emphasizing its significance within the context of ethnomusicology, cultural transmission theory, and education theory. The chosen research site strategically focuses on Yunnan Province, China, especially targeting regions with substantial Miao populace and deeply entranced musical traditions. Seven key informants, including elder musicians, music educators, community leaders, and cultural enthusiasts, were purposefully sampled to provide expert insights. A thematic analysis of qualitative data gathered through interviews and observations revealed important information about the ancient roots of Miao Nationality music, how it is used in everyday life, how cultural exchanges affect it, and how important it is for traditional instruments, vocal styles, and passing down the music from one generation to the next. The study suggests strategies for safeguarding and disseminating Miao Nationality music, emphasizing cultural awareness, technological advancements, support for inheritors, environmental protection, and innovative communication methods.

The purpose of this collective case study was to examine how four elementary music teachers (from different U.S. regions) integrated modern band into their curricula. Data included semi-structured interviews, videos, emails, and a researcher journal. Teachers integrated modern band to improve student "buy-in" and to gain instruments. All started modern band with older students in Grades 4 to 6 or 3 to 5, with some expanding to younger grades. Instruments were accumulated over time through various forms of funding, with repertoire selection coming primarily from students. All participants used approximation and multiple access points for making music when teaching modern band. Challenges were teachers' lack of knowledge and skills (playing modern band instruments and teaching rap and hip hop) and overcoming personal biases of popular music. Facilitating factors included access to training and resources and administrative funding and support. Implications include considerations for music teachers and music teacher educators.

It can be difficult to navigate the tasks of repertoire selection and part assignments in a way that produces a successful performance product while also being educationally beneficial to all students. However, researchers have explored methods of ensuring these goals through repertoire selection. In this article, I present ideas for how educators can pair the Zone of Proximal Development (ZPD) with music aptitudes when assigning parts in an ensemble. In doing so, ensemble directors might find themselves better positioned to address the individual needs of every student in the ensemble.

Over the last decade, vocation preparation formal and informal education has been included in higher music education programs with the purpose to responsibly supplement students' technical performance skills and graduate sustainable musicians. Such curriculum reform is continually met with mixed responses by students and faculty despite the increased precarity of the music profession within the current global context. This study evolved from one music vocational preparation educator's observation that student resistance is potentially based in one's passion for music, capacity for resilience and self-discipline, and perceived calling to pursue a music profession. From 2018 to 2022, first-year music students of an Australian metropolitan conservatoire enrolled in a vocation preparation unit were invited to participate in an online survey answering open and closed questions related to their professional activity and outlook, and personal perceptions of calling, passion, resilience, and discipline. Statistical and thematic analysis of the results were compared with a similarly designed prior study of professional Australian musicians and found that more than two-thirds of first-year student musicians were professionally active. All yearly cohorts consistently strongly agreed they were passionate about music, and agreed they possessed high and calling resilience. The year 2020 demonstrated insight to pandemic impact with more students viewing their professional future with trepidation, yet demonstrated the highest results for passion and resilience. Calling, passion, and resilience literature further served to interpret the data and subsequently suggested higher music education reform their curriculum and pedagogies by adopting a whole-of-program approach enabled by the contagion effect of calling, and alignment with students' passion, values, and music identities.

Music performance is an intensive sensorimotor task that involves the generation of mental representations of musical information that are actively accessed, maintained, and manipulated according to the demands of the performance. Internal representations and external information interact through feedback and feedforward processes that adjust the musician's motor behavior to optimize a musical performance. This study aimed to examine the relationship between altered sensory feedback and performance errors. Seventeen experienced pianists aged between 33 and 54 years performed Hanon Exercise N°1 from memory under four different conditions: (1) normal (normal sensory feedback); (2) closed fallboard (altered haptic and auditory feedback); (3) blindfolded (altered visual feedback); and (4) combined (blindfolded and closed fallboard; altered haptic, auditory, and visual feedback). Performance errors were quantified based on a video analysis of the performances. Results indicated that compared with normal performance, participants made significantly more note errors in the blindfolded condition and more bar-adding errors per trial in the closed fallboard condition. The comparison between the normal condition and the three altered sensory feedback conditions revealed the impact of altering sensory feedback in musical performance. These findings are discussed in the context of music learning.

Embedding musicians' occupational health training in music education curricula is widely recommended due to the well-documented high prevalence of performance-related health problems (PRHPs) among musicians across their lifespan. A scoping review was conducted to examine the range of evidence from implementations of musicians' health education programs, regarding the maintenance of hearing, musculoskeletal, psychological, and vocal health, as well as injury prevention strategies to minimize the risk of PRHP. Eligible sources of evidence included published and unpublished studies reporting occupational health education programs (which may have incorporated information on physical or psychological health, exercise, or somatic movement training) implemented with pre-tertiary and tertiary music students and teachers. Studies reporting stand-alone psychological health education were excluded. Key characteristics from included studies were extracted and charted. Data charts outline commonalities across the reported results, including physical, psychological, educational, and behavioral change outcome measures. Out of 46 records included for data extraction, 35 reported programs with tertiary-aged music students, seven reported programs with pre-tertiary-aged music students, two reported programs with music teachers, and two reported systematic reviews. Reported benefits from this research with both pre-tertiary and tertiary music students suggest that musicians' health education and injury prevention strategies reduce self-reported playing-related pain and music performance anxiety. However, future implementation studies need to address identified challenges such as effective behavior change and the enablers and barriers to the long-term adoption of strategies for optimal music performance and health outcomes. This review highlights the need for further research into designing and embedding musicians' health education into all music training settings, including more implementations with pre-tertiary music students, as well as training to support the professional development needs of instrumental and vocal teachers.

This article reflects on the "Hiddenness Index" we developed, implemented, and evaluated for Concertgebouworkest Young (Young), the youth orchestra of the Dutch Royal Concertgebouw Orchestra (Concertgebouworkest) for musicians with "hidden talents." "Hiddenness" alludes to various barriers that young musicians aspiring to a career in Western classical music may face, due to their social identity and positioning. These barriers may cause their talent to remain underdeveloped, invisible, or undiscovered; that is, "hidden." We developed the Index in response to Concertgebouworkest's request for an "evaluation and learning tool." Informed by intersectionality theory, it is an alternative to quantitative research into arts and culture, which takes a single-axis approach to the explanation of inequality in access to cultural production and participation. The first phase of our design-based research consisted of a theory- and practice-based mapping of the dimensions of "hiddenness." The outcome was that Geographical, Socio-economic, Family networks, Ethno-cultural, and Confidence-support dimensions should form the basis of the Hiddenness Index, which was constructed as a composite indicator. In the second phase of research, the Index was applied to the backgrounds of Young participants. The evaluation of the Index's strengths and weaknesses was central to the third phase. Complementing qualitative research, the Index offered a statistical way to evaluate the extent to which Young participants' talents were hidden and which dimensions of hiddenness were most prevalent at the group level. The Index affirmed and illustrated intersectionality theory, including the way two or more dimensions can compensate or reinforce one another. Through the use of the Index, the Young team gained a better understanding of intersectionality, which enabled them to fine-tune the selection process for future cohorts. The Index helped the team members to check their preconceptions (unconscious bias) and made them more aware of and able to attend to the different needs of individual participants.

Much has been written on the different learning paths of classical and popular musicians and the view that popular musicians can be marginalized within the musical hegemony. Adopting Lucas, Claxton, and Spencer's creative dispositions model, this article explores the extent to which this might occur when popular musicians learn to become secondary classroom music teachers. Data were collected through a series of semi-structured interviews from three popular musicians on a Post-Graduate Certificate of Education (PGCE) Secondary Music program. Utilizing a qualitative approach, the findings suggest that popular musicians innately demonstrate imaginative, inquisitive, and collaborative creative musical capacities. However, learning to teach seems to significantly impact their pedagogic identity as they experience underlying performativity cultures and hierarchical relationships in schools. This article considers the risks associated with undervaluing the creative dispositions of popular musician teachers, including minimizing their potential to reconceptualize pedagogic expertise at a time of significant education reform in Wales.

In 1950, percussionist and pedagogue Paul Price established an accredited collegiate percussion ensemble course at the University of Illinois Urbana-Champaign, the first of its kind in the country. In this article, I argue that Price's accreditation of the genre, coupled with his many other entrepreneurial initiatives, was made possible by the higher education's renewed desire for democracy and intellectual achievement that emerged after World War II and ultimately led to percussion's own 'Golden Age' that endured until the late 1970s. I achieve this objective by highlighting Price's role as an institutional entrepreneur, as demonstrated through his relationships and compositional collaborations with two American composers of midcentury percussion works, Michael Colgrass and Vivian Fine. By advocating for new standards of learning, musicianship, and composition, Price negotiated institutionalized norms to help turn percussion into an art form worthy of professional performance standards, accredited courses, a thriving repertory, and institutional recognition in the United States. An investigation of the correlations between midcentury collegiate percussion practices and the patterns of change and growth evident in higher education at the time help illuminate the powerful influence of educational institutions on music discourse in the postwar era.

Nigeria's triple music heritage of traditional, Islamic and Western music should have informed her formal music education curriculum. Instead, western music was used by the early Christian missionaries that it became difficult to integrate indigenous music traditions into the curriculum that music could not gain traction as a school subject across the country. In an effort to correct the defect a bi-musical curriculum of western and African traditional music was designed by the Nsukka Music School (NMS). Although the change was epistemologically right, the bi-musical curriculum confronted numerous challenges during implementation. This paper identifies the challenges and discusses how they were addressed. Data were obtained through interviews of key informants and a review of relevant literature. The challenge of stereotyping music and musicians was solved by students proving their mettle among their peers. Non-acceptance of music within the academia and society, was not addressed throughout the period. Difficulty of finding music lecturers was ameliorated by employing expatriates and some Nigerians but the latter undertook graduate studies abroad. Lack of scholars and traditional practitioners in the theoretical and practical aspects of African music knowledge was solved through awarding research grants for traditional African music, and hiring traditional musicians to teach indigenous instruments. Challenges arising from low student registration were ameliorated by creating alternative entry requirements for music while encouraging non-music majors to register for music ensemble courses. The challenge of poor musical background of the foundation music majors was tackled by passing them through an accelerated program and creating an enabling environment for teaching and learning. The solutions to the challenges enabled NMS to graduate students that were musically competent and socially relevant.

Band repertoire lists evolved from a desire to make the school band experience "more educational" when school bands themselves were relatively new. The first national band repertoire list was created for the National Band Contest in 1924, with new lists published annually through 1943. These lists gave prominence to the literature they contained, and through nationwide dissemination, the literature contained on them formed the foundation of many band libraries. This study was an analysis of the pieces and composers that were on the lists, how the lists were structured, and also the people who created them. Only 9.25 percent of the literature on the earliest lists between 1924 and 1931 had been originally composed for band, whereas 40.23 percent of literature on the lists from 1931 to 1943 had been composed for band. Only 2.58 percent of the literature on the lists was composed by women or people of color, and their works on the list were all transcriptions for band. The literature lists, designed to make band "more educational," excluded popular styles, including jazz and ragtime. These lists were created and maintained by 41 White men between 1924 and 1943, predominantly (88.1 percent) from New York and seven states in the Midwest.

The purpose of this study was to examine relationships between high school concert band directors' self-efficacy for classroom management, efficacious sources, and classroom management behaviors. Participants (N = 271) completed the Band Director Self-Efficacy for Classroom Management scale and responded to items about their demographic and school characteristics, formal preparatory experiences, stress from student behavior, support and trust, and satisfaction with recent classroom management. Additionally, participants rated their effectiveness for using classroom management behaviors. Participants' level of satisfaction with their recent classroom management was the strongest positive predictor of their self-efficacy for classroom management scores, followed by their ratings of parent resource support. When participants indicated higher stress from student behavior or higher administration resource support, they also had lower self-efficacy for classroom management scores. Results indicated that several classroom management behaviors predicted participants' self-efficacy, including establishing routines and procedures, keeping students on task, and rarely referring to the music score or lesson plan. Implementing and refining effective classroom management behaviors may improve the likelihood of directors gaining positive mastery experiences and lessen the influence of stress from student behavior on their self-efficacy for classroom management.

According to social identity theory, individuals self-categorize into groups and then differentiate between groups based on stereotypical norms to create a perceived hierarchy to benefit their self-esteem. The purpose of this study was to explore the presence of social identities among adolescent musicians related to the career paths of music performance and music education and to determine whether self-categorization and differentiation regarding these career paths were a feature of these social identities. Participants were 821 adolescent musicians of varying experience and backgrounds. Results indicated that participants self-categorized and differentiated in favor of the music performance career path but allocated hypothetical resources in favor of the music education career path. Age, family income, performance setting, and intention to major in music were significant predictors of self-categorization, differentiation, and resource allocation. These findings indicate that participants who were older, had greater financial means, identified as soloists, or intended to major in music were more likely to be aligned with a music performance social identity.

In this study, we examine how race and racism impact the schooling of African American males by analyzing the first-person perspective of hip-hop superstar, Nasir "Nas" Jones. We selected Nas due to his unique yet prevalent educational trajectory and perspectives. Critical race theory is employed as a framework as well as notions of Sankofa methodology and literary analysis to investigate his music, documentaries, and an open letter whereby he critiques the public school system while providing academic ideas to engage and inspire Black students. Studies about Black males routinely focus on their subpar academic performance with the intention of "correcting" these behaviors. We utilize the experiences of Nas to reframe the conversation and provide nuanced insight into Black educational experiences instead of perpetuating recycled, bleak narratives. This article concludes with suggestions for educators to better serve African American males in the Pre K-12 academic context.

The aim of this paper is to contribute to a better understanding of musician identity learning. Identity is a significant driving-force behind many artistic vocations. However, identity may also pose challenges such as vulnerability, burnout and conflict of commitment. The paper focuses on musician identity, based on interviews with classical and rock musicians during the COVID-19 pandemic. Analyses reveal that the musicians are either in integrating or situating musician identity learning, two different processes discussed as dynamically interrelated and depending on life situation. The paper argues that breaks of normality accentuate challenges stemming from musician identity and that the proposed learning processes are responses to those challenges, which is previously under-explored. The paper concludes that many musicians or other artistic practitioners likely struggle to de-centralize their identity in order to foster a sustainable vocational career and personal growth, and that temporary career breaks may provide necessary relief and learning space.

This article explores the ways in which popular musicians in Malaysia learn the craft of Western popular music-making in comparison to those in the United Kingdom. Literature that studied popular musicians and their practices had largely focused on communities within Anglosphere regions, and there are insufficient understandings of the journeys of non-Anglosphere popular musicians to determine if their experiences coincided with those from Anglosphere nations. In this mixed method study, popular musicians from Malaysia and the UK completed online questionnaires that enquired into their experiences with formal learning, as well as the practices they engaged in. Secondary data was also harvested from literature based on UK musicians for triangulation purposes. Though the findings indicated numerous overlaps in the experiences of popular musicians from both countries, there were areas of distinction. Malaysian popular musicians were more inclined than their counterparts in the UK, to engage with formal popular music learning, to cultivate a reliance on notation, and to experience instrumental lessons that comprised more features of informal learning. Implications from this article include the need to further investigate the factors behind the disparities, and to afford increased attention towards the learning cultures of non-Anglosphere popular musicians.

This study aims to investigate leadership in orchestra conducting and interrogate educational principles to improve conducting pedagogy. Effective leadership implies a set of interpersonal, communicational, and emotional skills combined with a high level of expertise, which may enable the leader to not only achieve excellent outcomes but also create a positive and collaborative working climate and vision for the performance. This work demonstrates that there are strong implications between effective leadership and orchestra conducting. We examine how orchestra conductors are perceived to be effective leaders and deduce from general leadership theories the following five parameters: charisma, stage presence, nonverbal communication, relationships with musicians, and leadership style. Interviews with orchestra conductors and performers support these five parameters for effective orchestra conducting. We perform a detailed analysis of the profiles of two renowned orchestra leaders-- namely, Herbert von Karajan and Gustavo Dudamel-- to test the five parameters and distill educational implications for both scholars and practitioners. The results are presented and discussed, along with implications for the education of orchestra conductors.

This study explores young people's arts participation through music-making in Finland and the factors that may regulate that participation. It seeks to understand the construction of active modes of arts participation in and through adolescents' musical life courses. The interview study was conducted with young people (N = 18) participating in musical activities in formal and nonformal learning spaces, such as music institutions or activities offered by municipal youth programs. By introducing five musical pathways based on young people's life courses, we explore the ways that adolescents negotiate individual and collective meanings as creative agents in their musical lives. The study shows that access to music education, webs of support, and continuity of musical activities are the key factors regulating young people's arts participation through cultural authorship.

The purpose of this study was to determine the effects of model recordings on undergraduate conductors' tempo decisions for selected wind band excerpts. Participants (N = 42) studied three music score excerpts for 5 minutes each either (a) with an increased-tempo recording, (b) with a decreased-tempo recording, or (c) with a metronome set to the faster, printed tempo in the score, followed by a tapping task to demonstrate their preferred tempo. Participants returned 48 hours after their score study session for retention testing in the form of a second tapping task. Results indicated that for two of the three pieces, participants tapped faster in response to the metronome compared to both the decreased- and increased-tempo model recordings. Participants' tempo choices at the first testing session were most often not significantly different than the tempos they heard during study. However, we found that participants' preferred tempos did not vary as a function of study conditions during the retention testing session that occurred 48 hours later, where tempos trended toward moderation across all three musical selections. We speculate that pedagogical recommendations to avoid using model recordings may have limited empirical support, at least among novice conductors and at least in terms of possible long-term effects from short-term use.

The purpose of this descriptive study was to examine school string teachers' beliefs about and practices of teaching nontraditional music courses. We surveyed middle and high school string teachers (N = 42) about what nontraditional music courses and ensembles (NMCEs) they currently offer and would like to offer to their students. In addition, we examined the educational rationales that string teachers have for offering NMCEs. Our findings indicated that the most frequently offered NMCEs were guitar class, pit orchestra, and music technology. Participants expressed strongest interest in adding fiddle club, popular music, and mariachi ensemble. The participants explained that NMCEs provide opportunities to teach content that closely may more reflect students' cultures and possibly attract a wider range of students. The participants used NMCEs to cultivate musical skills that are often overlooked in large-group setting, including improvisation, playing by ear, and collaborative arranging and composition.

In this manuscript, we introduce four philosophical camps and provide bulletin board and classroom decoration examples of how music teachers can visually communicate their teaching philosophies to their students, parents, colleagues, and administrators. The categories emerged from our review of bulletin board examples created by our music teacher colleagues and include (1) music, emotion, and expression; (2) praxialism; (3) extramusical benefits; and (4) social justice. Bulletin boards may indirectly represent teachers' philosophies when compared with explicit curricula, such as lesson plans, textbooks, and other instructional materials. However, teachers can foster holistic learning experiences for students by harmonizing their implicit messages on bulletin boards and classroom decorations with the explicit curriculum.

Musical expression is often not explicitly addressed in secondary instrumental rehearsals due to the perception of expression as an obscure concept and the instructional time constraints on music educators. Secondary music educators, however, are encouraged to discuss expressive performance goals with instrumental students from the beginning of formal instruction. The three most common methods of teaching expression in music include metaphor, aural modeling, and explicit instruction regarding instrumental techniques. With the use of plainly stated performance goals, music educators can help clarify the concept of and expectations for expressivity for instrumental students.

Conducting is a multifaceted and essential skill set expected of musicians from many specializations, but certainly for music educators who often fill ensemble leadership roles. For most undergraduate music majors, introductory conducting courses are their first experiences with conducting. Attending to all fundamental components of the undergraduate conducting curriculum, including effective score study strategies, mastery of technical skills in meter and patterns, and expressive and functional gestures, is a daunting task for undergraduates to achieve within the scope of one introductory course. In this review, I examine conducting scholarship regarding pedagogical practice and principles related explicitly to wind band conducting. Topics investigated included (a) score study, (b) gesture and expressivity, (c) conducting curriculum, (d) the dichotomy of "music educator" vs. "conductor as a performer," and (e) the underrepresentation of minority groups on the podium. Implications for continued research and future practices of wind band conducting are shared.

The aim of this study is to investigate the "Carcassi Guitar Method" in terms of content. The research has a descriptive design based on the document analysis model, one of the qualitative research methods. Within the scope of the research, the edition of Matteo Carcassi's guitar method, the original name of which was "Methode Complete pour La Guitarre", named "Carcassi Method for the Guitar", published by Oliver Ditson Company with the editorship of G.C. Santisteban, was obtained, and the 12 parts of the method and the subjects included in the chapters were examined by documentary scanning method. As result of the research: It has been revealed that the content of the method includes scales, cadences, etudes and pieces in all tones, exercises related to the subject are included in all parts of the method; on the other hand, the method is far from being a source of repertory due to the low number of pieces in the content.

This exploratory study reports findings from an "arts-based service-learning" (ABSL) programme where student musicians facilitated "therapeutic community music" (TCM) (Aigen, 2012) for, with, and alongside children and seniors in different community settings. The data primarily comprised student musicians' reflective logs and feedback forms and were analysed through a quality of life lens (Raphael, 2002). This paper discusses the student musicians' reported experiences of belonging (Raphael, 2002). Belonging manifested itself in physical, social, and community aspects. For example, facilitating TCM within a circular format helped the student musicians experience deeper social interactions and a greater sense of inclusion. Moreover, the sense of belonging became a resource for developing resilience, expressing creativity, building professional networks, and experiencing the possibilities of their careers. The study concludes with implications for embedding ABSL in higher education programmes to support learning, enhance well-being, and promote community.

This study aims to shed light on the motivation governing instrument choice. To collect data, we designed, piloted and administered a survey to a population of students enrolled in a music teacher education programme in Sweden. In line with previous, Anglo-centred research, we identify the instrument's timbre and parental influences as relevant motives for this decision. Uncommonly, however, taking part in a testing session is suggested to have a similarly influential effect. Accordingly, our study supports the value of offering free-to-all sessions where children may try different instruments and openly discuss them with music teachers. Further insights from our results include families exerting more influence than peers, genre preferences bearing little relevance and potential tendencies regarding the influence of gender and socio-economic background for instrument choice. In addition, we uncover several motives that counteract this decision, music provision being the main impediment to pursuing one's original preference, thereby underscoring the urgency of reducing the Swedish communal schools' waiting lists for specific instruments. Our results further suggest the presence of mediating factors, including the musician's starting age, family environment (beyond parents/guardians) and the availability of the instrument at home. This finding opens a new path in the study of instrument choice and challenges the way this topic has been traditionally researched, given that such factors could function as confounding variables in the study of instrument choice.

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.

This article shares the narratives of young rural and regional classical musicians in Australia as they navigated their musical journeys. Challenges are explored, including the lack of resources, and the need to travel long distances and the associated costs. Study participants reflected on their feelings of isolation and lack of understanding from their non-music peers and stressed the need to connect with other like-minded musicians. The benefits of being a young musician in a non-metropolitan area are discussed, including unique opportunities offered in a nurturing, less competitive environment. Regional conservatoriums' role is highlighted, particularly through the Regional Youth Orchestra NSW (RYO) initiative. Study findings demonstrate the positive impact of regional youth orchestra programs in connecting talented young classical musicians with professional orchestras and peers to support and inspire their musical ambitions and address entrenched music inequalities.