This article documents the lives of three female cathedral choristers and the impacts of cathedral choral training on their subsequent lives and careers. The participants reported the acquisition of musical skills such as sight-reading and knowledge of liturgical repertoire as key. Extra-musical skills were also reported, including being organised and flexible, focusing on details, working hard, behaving in a professional manner and taking up leadership roles. In addition to the many positive experiences, the choristers identified a need for targeted pastoral care in their cathedral choral training. Further research needs to investigate the environmental structures and supports in cathedral choirs and the dynamics between conductors and child female choristers.

This study explores the characteristics of musical and communicative interactions – primarily vocal – between parents and children aged 6 to 36 months in Barcelona, Spain. Five families participated. Data were gathered using LENA® audio recordings across full days and semi-structured interviews. Episodes were analysed using a validated instrument and thematic coding. Findings reveal mismatches between parental perceptions and observed behaviours, highlight children’s active participation, and identify underreported functions and settings of musical interaction. This research underscores the importance of combining parental accounts with data gathered from real-life scenarios to understand everyday family musicality as a shared, dynamic, and reciprocal phenomenon.

This study investigates the intersection of generative artificial intelligence (GenAI) and democratic pedagogy in K-12 music education in Macau, centring on the experiences of a single teacher, Adam, throughout a school year. This study explores how GenAI tools assisted Adam in teacher planning, shifting learning objectives and bridging gaps among students in the music classroom. The data further highlighted a paradox in integrating GenAI in music education: while Adam saw AI tools as enhancing certain aspects of creative expression, such as generating musical ideas or assisting in composition, he also recognised AI’s deterministic nature as a constraint on deeper creative agency and critical engagement. This research contributes to the growing discourse on GenAI in education, problematising the assumption that GenAI inherently democratises music education. It emphasises the critical importance of thoughtful GenAI implementation to ensure that it complements rather than supplants the essential human elements of teaching, advocating for a holistic and sustainable approach to personalised and democratic music education.

In 2024, the Women and Equalities Select Committee in the UK Parliament published a report entitled Misogyny in Music. It included the recommendations that ‘music colleges, conservatoires and other educational settings need to do more to address the gendering of instruments, roles and genres and improve the visibility of and support for female role models’. While there is a dearth of policy levers available to implement this recommendation, this article critically analyses three existing policy/regulatory frameworks that could be used for its implementation in England. The article also highlights a significant limitation of the report – its exclusion of trans and non-binary musicians.

This paper seeks to understand the different conceptual representations of R. Murray Schafer’s ideas in scholarly literature and their relevance within framework of transversal competences as a perspective of education in the 21st century. A systematic review of the literature was carried out using the PRISMA guidelines as a reference. Five multidisciplinary databases were searched between 2000 and 2024 in English, Spanish and Portuguese. The 29 scientific papers included in the review present perspectives from four continents, diverse areas of knowledge and different educational focuses and levels. The results show the relevance of three concepts: listening as a disposition, creative music education as a procedure and soundscape as an interdisciplinary resource. These concepts are approached from the artistic-musical and transdisciplinary fields, and represented from different perspectives: inclusive, aesthetic, social and economic. It is concluded that M. Schafer’s ideas are characterised by their topicality due to the transversal approach they promote, where creativity, social and environmental commitment, and the participation of all in musical learning are coherent with the challenges of musical education and training to which we aspire.

The aim of this research is to examine student motivation to participate in general music classes. The research involves students aged 10–14 from a general education primary school in Croatia (N = 186). The results indicate that these students were motivated to engage in general music classes; however, a nonlinear decline in motivation was evident as students progressed through the school years. Girls were more motivated to participate in general music classes compared to boys, and students involved in additional musical activities reported higher levels of motivation. Furthermore, listening to music influenced students’ perceptions of general music lessons and was associated with their motivation.

Building on the author’s previous research into music teacher biography, this current paper examines the identity of secondary (age 11–18) classroom music teachers in England exploring, in particular, how far teachers consider themselves as musicians first or teachers first and how far this may impact upon what and how they teach their students. How we see ourselves as classroom music teachers, it is hypothesised, can impact how we view our pupils and their development as musicians, so this research seeks to investigate the truth of this. The findings, for example, suggest that music teachers who very much identify themselves as musicians first may well view their pupils more as musicians also.

This paper builds on research conducted in 2008 by Wright into the uneasy power dynamics between a music teacher and her pupils in a secondary school music classroom in Wales as a result of her Western Classical ‘habitus’; by this, we mean the habitual behaviours, attitudes and values that are commonplace when operating as a classical musician. Some 18 years on, and in a transformative Welsh education climate, narrative data collected from pre-service teachers practising in similar classrooms in Wales suggest that they have begun to move away from their Western European classical ‘habitus’ and believe in shared pedagogic ownership that takes account of pupil voice and choice. Furthermore, in learning to teach, they develop pedagogic behaviours more akin to popular musicians, such as being more improvisatory and more willing to tolerate uncertainty. A key factor is the trusting and collaborative relationships they developed with their mentors (teacher-tutors) within an education system in Wales that has committed itself to the concept of subsidiarity. These findings mark a positive step forward for the music education community within a new and aspirational educational landscape in Wales.