The structure, implementation and operation of music education at the primary level differs depending on the legislation of the education system within which the school operates. An inquiry-based project was completed over a 10-week period, with the overall aim of gaining an understanding of current teacher practice within music education in both Ireland and the United States. This article examines the Irish generalist and the American specialist models of music education from the teacher’s perspective. The overarching question guiding this research was ‘How is music education realised in Irish and American schools at the primary/elementary level?’. The project sought to investigate the specific challenges of both the generalist and specialist models to ascertain if one educational context might inform the other. Teacher surveys, teacher interviews, curriculum artefacts, expert interviews and contemporary literature around the topic were utilised as data sources to assimilate music educators’ perceived experiences of implementing their respective music curricula. Drawing from the data gathered, coded and quantitively and qualitatively analysed, two contrasting vignette-style stories are presented. A brief discussion follows that compares both models, highlighting some of their relative advantages and drawbacks.

There is an on-going debate as to the skills needed for 21st century careers in classical music and how undergraduate students should learn them. Many graduate pianists report being under-prepared for the music profession, lacking sight-reading skills in particular. While research-evidenced pedagogy for improving sight-reading skills has been developed, little is known regarding what impact enhancing this skill could have on undergraduate educational experience. The present study aimed to evaluate the effect of sight-reading training on undergraduate pianists’ choices of repertoire for practice. Two groups of 12 participants were recruited from three institutions in the UK and Australia. One group undertook the sight-reading training programme for 10 weeks. Both groups listed the solo, concerto, chamber and accompanying repertoire they practised. The mean lengths of time participants spent practising each kind of repertoire were calculated. There were significant effects of institution and therefore country on practice time but no effects of the sight-reading training. Nevertheless, the findings suggest that interventions should be designed to develop pianists’ practical skills, including sight-reading, and the long-term effects of such interventions on quality of deliberate practice, particularly on the types of repertoire that are likely to be most valuable for pianists in the early stages of their career, should be evaluated.

Given the differences in continuing musical after primary school, this study works with the idea that the development of music-making habits requires flow, which, in turn, depends on family musical practice. Flow is the state of mind of immersion in an intrinsically rewarding activity, which represents an optimal challenge fostering persistence and skill growth. Based on 164 students (82 girls) from six schools in Catalonia, we compared flow in primary school musical practice between students with high and low levels of family musical practice, concluding that family context should be considered in adapting musical activities to students’ previous experiences.