This article, written at the time it was taking place, discusses the effects that the COVID-19 pandemic is having on music education in schools, focusing on the UK. It discusses how schools and teachers have had to make a sudden shift to a largely on-line modality, and the effects of these on teaching and learning in music. It asks questions of curriculum and assessment, especially with regard to the fact that classroom teachers in England are having to use their professional judgment to provide grades for external examinations, where hitherto these would have come from examination boards. It questions the ways in which teachers have been inadequately prepared and supported for this, by years of neoliberal undermining of confidence. It goes on to question accountability, and teacher training, raising issues which, at the time of writing, are of significant concern or music education.

Since the late nineties, composition projects inviting artists and contemporary composers into schools and communities became more established and written about in German speaking countries (see for instance Henze, 1998; Schneider, Bösze & Stangl, 2000; Schneider, 2000; Schatt, 2009; Schlothfeldt, 2009; Schneider, 2012). Additionally, music education researchers have provided theoretical and didactical analysis of contemporary music teaching and learning in schools (Winkler, 2002; Weber, 2003). In this qualitative study, expert interviews were analysed using Grounded Theory Methodology to investigate structures and processes of current practises in collaborative composition projects. Apart from illustrating the seven structural factors and three main project sections that emerged, the article also discusses the main category fostering creative processes.

This article is a narrative inquiry of the lived spiritual experiences of students participating in Dalcroze Eurhythmics training. Previous studies have located Jaques-Dalcroze’s own writings and thought within the context of spirituality and have explored the spiritual experiences of Dalcroze teachers, but students’ perspectives remain to be investigated. We interviewed seven students, broadly defined as anyone currently attending regular Dalcroze training or who have recently attended Dalcroze courses and still consider themselves Dalcroze students. Various strategies for narrative data analysis were synthesised into our own coding scheme. Themes emerged from the data analysis: situation, continuity, personal interaction, social interaction and significant moments. The themes helped us construct a fictive conversation between the participants, using direct quotations from the interviews. Implications for practice focus on what inhibits and promotes experiences of spirituality in the Dalcroze class. This research will be relevant to music educators, as it gives clear, evidence-based guidelines on how opportunities for spirituality can be created in the Dalcroze classroom. It also offers an original synthesis of existing coding schemes for other researchers undertaking narrative inquiries.

The purpose of this study was to document the lived experiences of flow during an optimal music performance. Fifteen undergraduate musicians (Mage = 19, 53% male) participated in in-depth, semi-structured interviews, where they were asked to describe an optimal performance experience. Results from an inductive qualitative analysis revealed three main themes: environmental context, emotional connectedness and interpersonal relationships, which synthesised the optimal performance experience. The results also suggest that flow among musicians appears to be a common emotional state and similar to that conceptualised in sport. The ways a musician experiences flow are important, as these can help music educators gain a better understanding of the conceptualisation of flow within music performance. However, given the nuanced differences in the sociocultural environment of a flow experience typical in a sport or music performance, additional research into the divergences of domains may be warranted.

While mastery of aspects of music theory is relevant to rapid learning and understanding of a new choral part, many choirs comprise members with no formal education in music theory. Also, the language of music theory is not intuitive, with many terms having meanings different from those in common use, which can present obstacles for mature learners. The authors hypothesised that students joining an internationally recognised university choir might master aspects of music theory as a by-product of rehearsals. This was tested by having new admissions to such a choir complete a music theory test at the commencement and at the end of a year. The test evaluated the ability to name and write intervals and name notes and the duration of notes. Overall results did not reject the hypothesis. Subjects with no formal music training also showed most, and statistically significant, improvement in the questions related to intervals, which are arguably the most useful skills for choristers who do not sight-read. This appears to be a new finding: the literature shows occasional references to music theory skills, but their acquisition in a learning-by-doing style is not reported. Some insights into ways of enhancing choral performance are a by-product of the principal focus of the study.

Developing effective parent–teacher relationships in music lessons is important for the well-being and learning outcomes of the learners. The aim of this collective case study was to explore the relationship between teachers and parents of pre-school children in group music lessons in the Klang Valley, which is an area in West Malaysia centred on Kuala Lumpur. It includes the neighbouring cities and towns in the state of Selangor. Interviews were conducted with nine parents and three teachers of three group music classes for pre-school children. The results point to the values and attitudes that parents and teachers hold and the interactions between them that both encouraged and discouraged parent–teacher partnerships, which are relationships where trust, reciprocity, mutuality, shared goals and decision making are essential characteristics.

This article investigates the possibilities of a vocational pedagogy for undergraduate popular music education which is grounded in site and city. The value of work-integrated curricula in tertiary music environments is well established; however, often absent from such discussions is consideration of how geospatial contexts mediate the opportunities and resources available to universities. In response, we provide a critical comparison of how work-integrated learning (WIL) has been developed in two undergraduate popular music degrees in Australia and Aotearoa/New Zealand. Through comparison, we consider how the geographic locations of both programmes have shaped WIL, as well as identifying the specific economic, cultural and political tensions that emerge.