The inclusion of jazz ensembles within extra-curricular instrumental music programs in secondary schools in Australia has grown exponentially in the past two decades. Despite this growth, there is a deficiency of specialist teacher training in jazz education and pedagogy in Australian tertiary institution instrumental music courses. This lack of…

We asked school- and college-aged instrumentalists (N = 32) to imagine an ideal performance of a brief passage of music, record a performance of the passage, and describe discrepancies they noticed between their imagined and actual performances. The more experienced participants took at least as much time to imagine their idealized performances as…

Group improvisation encourages students to improvise in a collective setting to build confidence in their individual and group improvisational skills. In this article, I describe group improvisation methods that offer an accessible entry into creative music-making for learners in secondary school instrumental ensembles. Instructional…

This article reports on the development and validation of the Instrumental Practice Goal Realization Inventory (IPGRI) designed to assess the process of self-directed study, beginning with setting the intention to practice and ending with the evaluation of one's performance. This new tool is based on the theoretical model of action phases. The…

The research problem explored in this qualitative study was the lack of literature from the perspectives of K-12 music teachers on using virtual technology to instruct secondary concert bands. This study showed the challenges and successes experienced with the use of this technology and their impact on music teachers' overall view of using virtual…

The purpose of this study was to explore how an intergenerational group of music students (ages 16-71) mentored each other in an online jazz improvisation course. This study is framed in Dewey's notion of students sharing their knowledge and experiences with the teacher as facilitator and the following research questions guided this investigation:…

In K-12 schools, classes are forced to transform online due to the class suspension amid the COVID-19 pandemic. Educators began to design alternative ways to conduct some meaningful learning activities for their students. However, not all subject disciplines could be easily transformed online, especially for those requiring much social interaction…

In this second of three in the series, we explore methods for incorporating instrumental ensembles into your music classroom. Experiences such as performing on ukulele, bucket drums, and in modern popular music ensembles are excellent ways to provide meaningful, relevant music education to students of all ages. Using both research-based…

Secondary general music is hard to define. For some, this denotes an accelerated version of elementary general music or a decelerated version of a college music appreciation course. Others view this as any nontraditional ensemble geared for middle or high school students, such as guitar, keyboard, or steel pans. Still, for others, secondary…

Recent advances in music technology include practical tools for sound recording and production in school music classrooms. Secondary school music production classes allow students to make meaningful connections between school music and the music in their own lives. We offer several projects for teaching music production and sound recording;…

The threats of the COVID-19 pandemic in January 2020 resulted in schools moving to online learning and impacted programs with cocurricular activities, especially band programs. Student retention, low enrollment, loss of interest, and lower motivation became liabilities for band programs during the pandemic. Therefore, having an engaging online…

This article presents a three-pronged strategy for teaching collective improvisation in the general music classroom through structured surround soundscapes. This strategy consists of developing socio-interactive skills, shared understanding, and personal music vocabulary in collective improvisation. In the music classroom, these concepts should be…

In this paper I begin to theorize what secondary school music education might look like "post-deconstruction." In particular, I explore the argument for a reconsideration of the importance of conceptualization in the process of music education. I argue that is it through coming into contact with powerful conceptual knowledge that…

Music education has faced considerable challenges in trying to bridge the gap between music in young people's lives and that taking place in the classroom. The 'Musical Futures' initiative aimed to devise new and imaginative ways of engaging young people, aged 11-19, in music activities through a process of informal learning based initially on…

Music can be understood in many ways. This has important implications for music education. The research reported here explored how groups of people conceptualise musical understanding and what they believe supports its acquisition. In this study 463 participants completed two statements: "Musical understanding is" and "You learn to…