The Applied Studio Model in Higher Music Education: Critical Perspectives and Opportunities, edited by K. A. Parkes and R. Daniel, examines the evolving role of the applied studio model within contemporary higher music education. Bringing together perspectives from scholars and practitioners in music, education and performance, the volume explores how traditional studio-based teaching can be reconsidered in response to changing pedagogical, social and professional expectations. Rather than viewing the studio model simply as a master-apprentice tradition, the contributors investigate its possibilities and limitations through discussions of teaching practices, identity formation, access and equity, diversity and inclusion, student–teacher relationships and the integration of theory and practice. The chapters also address how reflective approaches to pedagogy can influence learning outcomes, professional development and students’ experiences within applied music contexts. While some ideas challenge conventional understandings of studio instruction, others extend familiar concepts by providing research-informed perspectives and practical implications. Overall, this book offers valuable insights for applied music educators, researchers, studio teachers and leaders in higher education who are interested in developing more inclusive, responsive and effective approaches to music teaching.

The book’s three parts reflect a central exploration of identity and its role within the applied studio model. Throughout the chapters, the authors demonstrate how experience, personal choices, culture and complex educational contexts shape both individual and collective identities. Readers are encouraged to reconsider their own perspectives on teaching and learning. Although each part builds on the previous one, individual chapters can also be read independently, with theoretical discussions and references supporting the practical issues explored. Together, the three sections provide a coherent understanding of applied studio models in higher music education, grounded in empirical research, practice and thematic connections.

In Part I, Chapter 3 is of particular interest, in which Lilian Simones introduces ideas to enhance instrumental and vocal music teaching. She argues that the profession should be rooted in values, skills, competencies and knowledge. Her model, ‘Echoes for Excellence’ (p. 49), serves as a comprehensive basis for teacher reflection. Simones raises some concerns, one being that professionals lacking relevant pedagogical qualifications could be less skilled and confident in their use of technology in music education; further concerns include the professionalisation of teachers, their training, qualification and regulation and potential isolation.

Part II consists of three chapters, and in Developing a Pedagogy of Care for International Music Students from Audition to Graduation (Chapter 5), Latukefu and Awale build on prior research on the duty of care in cross-cultural music-making amid cultural shock. The authors confront students’ negative experiences in relation to emotional complexities during the transitional process and their impact on students. They argue that the traditional pedagogical context omits these important issues. Drawing on the experiences of Nepalese students in Australia, the authors compiled a ‘Handbook of Care for Higher Music Education: Encouraging Cultural Diversity and Inclusive Practices’. Themes in the handbook, such as admission policies to include cultural diversity, diverse staff recruitment, understanding the challenges of international studies and cultural constraints in assessment design and curriculum, and empathy towards students and support for students, form the basis for a strategy to improve care. Compelling case studies of students’ success are highlighted in this chapter. However, unequal academic institutions still exist globally, and implementing the handbook’s guidelines remains challenging. Overall, the important key suggestion in this chapter calls for people to embrace diversity fully and for institutions to incorporate it into the daily activities of students and staff.

In Part III, in Chapter 7: Challenging Tradition: Examining Access and Equity in the Master-Apprentice Studio Model, Yuen explores students’ access to the studio model, which is deeply embedded in Western European classical traditions. Firstly, Yuen discusses the history, benefits and drawbacks of the studio model before exploring the limited access to and equity in the applied music studio and then how to transform the tradition to meet students’ needs. Yuen highlights tensions regarding parental socioeconomic status, geographical background, family cultural capital and musical talent in deciding student success, arguing that this often results in a lack of diversity in professional higher-education music. Key to this, Yuen believes, are the activities that institutional staff can undertake to increase access, such as examining their attitudes towards the gatekeeping of knowledge around opportunities, for example, relating to audition expectations, institutional access and inclusion.

When comparing the book to other publications, the methodology, focus and impact have similarities and differences. For instance, Jorgensen’s (Reference JORGENSEN2008) book highlights the importance of individualised instruction but does not explore the studio model. Conway and Thomas (Reference CONWAY and THOMAS2009) discuss innovative pedagogies, how to prepare teaching philosophies and methods to assess teaching. This book’s strength lies in its consideration of personalised instruction and mentorship of the student, and it is commendable for its emphasis on positive, constructive student–teacher relationships. The comprehensive examination of the contributors’ diverse viewpoints provides a holistic look at the applied studio model. These approaches are crucial in music higher education and align with current trends in educational theories within the context of individualised learning pathways. Because students’ creativity and engagement are essential within innovative pedagogies, the book reflects how music education can evolve to meet the needs of contemporary students. Furthermore, the editors recognise the importance of diversity in music education, and they address cultural relevance in teaching practices, thus providing a timely addition to educational dialogues within globalisation.

In conclusion, further areas for consideration for future editions of the book could include a more quantitative approach, although the qualitative insights are valuable. This type of data and its statistical analysis could strengthen the case for the applied studio model. Although the discussion centres on innovative pedagogies and best practices, the real-world challenges could be addressed more effectively when these ideas in the book are implemented. Additional strategies for overcoming institutional barriers could provide a more in-depth approach. In the globalised world, a broader range of genres exists, and although diversity is discussed, a deeper explanation of specific genres and their pedagogical approaches could enhance the discussion. For instance, the book’s discussion of inclusivity and recognition of diverse communities also provide valuable insights for educators working beyond higher education, including those teaching in private studio contexts. Its emphasis on student-centred approaches, accessibility and awareness of individual backgrounds may support learners of different ages, abilities, cultural experiences and identities. This represents a shift away from the traditional master-apprentice model, where authority is often centred on the teacher, towards a more collaborative approach that acknowledges students’ experiences, strengths, musical traditions, prior learning and specific interests. Overall, the book successfully promotes a student-centred approach in relation to mentorship, innovation and personalisation. Some of the identified gaps could solidify its position in the development of music education practices.