Update: Applications of Research in Music Education

In this study, we examined the perceptions and practices of PK–12 music teachers regarding hearing health. Participants (Ν = 58) completed a questionnaire to assess their use of hearing protection, initiatives to support student hearing health, and perceptions of institutional support for hearing conservation within school settings. Although most teachers reported being aware of noise-related risks and feeling responsible for their hearing health, few consistently wore earplugs or other hearing protection devices. Participants identified several barriers to implementing improved hearing health practices, including physical discomfort with wearing earplugs, access to resources, and support from school administration. Concerns were reported about room acoustics, the long-term effects of noise exposure, and students’ hearing health. Few teachers reported receiving hearing health training from their teacher preparation programs or school districts. This study emphasizes the need for a more comprehensive education, resources, and policy support for hearing health in music education.

Individuals with mental disabilities and other adaptive needs may benefit from music education throughout their lives. These individuals are commonly perceived as having decreased autonomy, relatedness, and competence: the three factors contributing to psychological well-being according to self-determination theory (SDT). In this study, we initiated a choral experience with a school for young adults with disabilities. We share findings from conducting autonomy-focused activities embedded in the choral rehearsal. Students and staff in this study share unique outcomes, including the power of decision-making and the importance of leadership and representation.

Artificial intelligence (AI) has shifted from a distant prospect to an immediate reality in education, bringing opportunities and challenges. In music education, recent studies emphasize AI’s potential to broaden access, personalize instruction, and foster creativity, while also warning of reduced expressivity, overreliance on automation, and the erosion of human judgment. This duality highlights the need for pedagogical frameworks that balance innovation with critical reflection. Drawing on Heidegger’s insights on technology, this Research-to-Resource article applies the concepts of Releasement (Gelassenheit) and Openness to Mystery (Offenheit für das Geheimnis) to music education. These concepts invite teachers and students to engage with AI thoughtfully and receptively, viewing its outputs not as finished products but as invitations for interpretation and imaginative exploration. Practical classroom activities illustrate how AI can serve as a reflective and collaborative partner, enriching musical learning while sustaining agency, creativity, and critical judgment.

As AI becomes more integrated into our daily lives, AI literacy is emerging as an essential skill. In response to this growing need, the aim of this research-to-resource article is to introduce the AI Literacy Model (AILM) designed to equip preservice music educators. Although AI literacy is increasingly recognized as a crucial skill, its integration into music teacher preparation remains underdeveloped. Building on existing literature, the AILM comprises two dimensions: (a) Core Components of AI literacy: understanding AI, using/applying AI, evaluating AI, and considering AI ethics and (b) the observer-participant-agent pedagogical approach. The first dimension focuses on the core components of AI literacy, detailing what should be taught. To complement this, the second dimension introduces a pedagogical approach grounded in interactive constructivism, emphasizing how to teach these concepts effectively. This article provides both theoretical and practical guidance for cultivating AI literacy in music teacher education.

The authors of the NAfME (National Association for Music Education) Blueprint called for wider K–12 participation, more diverse teacher preparation programs, and reduced professional isolation. Taken together, these priorities center belonging as a core concern for K–12 students, preservice teachers, and inservice educators. This systematic review is a response to the Blueprint by synthesizing the research literature on belonging in music education. A PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analyses)-guided systematic search of major music and education databases yielded 29 articles. Through a thematic analysis of these studies, six themes emerged: (1) cultural identity, (2) peer networks, (3) structural features, (4) pedagogy of care, (5) accessibility, and (6) democratic approaches. Together, these themes show that intentionally inclusive designs can cultivate belonging across ages, abilities, and contexts, whereas competitive ranking or narrow canons of repertoire can erode it. Practical recommendations highlight ensemble rituals, student leadership, and mentorship models, and future research directions target preservice conservatory environments, K–12 bonding experiences, such as performance trips, and inservice teacher retention.

This case study investigated how 30 students in a post-secondary popular music diploma program in Singapore co-created and applied ensemble agreements—peer-devised frameworks for guiding rehearsal behavior and communication. Drawing on student-generated documents, reflective questionnaires, and focus group interviews over 1 academic year, the study examined how these agreements influenced collaboration, leadership, accountability, and perceptions of teacher presence. Students initially adopted rule-based, punitive models, but gradually shifted toward dialogic, collaborative approaches emphasizing shared responsibility and mutual respect. Challenges included uneven adherence, blurred responsibility, and negotiating authority between teachers and peers. By year’s end, students viewed ensemble agreements as adaptable frameworks that helped to navigate and maintain professionalism, trust, and collective agency in rehearsal contexts. The findings indicate that ensemble agreements can enhance collaboration and reflective practice in small ensemble settings across varied genres and skill levels.

The purpose of this study was to determine the effects of reciprocal peer teaching (RPT) on the music performance skills of fourth grade string students using quasi-experimental, between-subjects designs. Students from a fourth grade orchestra class (N = 36) were grouped into one of the three conditions: (1) a free interaction RPT group, (2) an identical group, receiving an expert model of interaction strategies prior to RPT, and (3) a control group receiving traditional, whole-class instruction. Students in the experimental groups worked in pairs over six weeks, after which all students completed a performance of French Folk Song for evaluation. Group mean comparisons indicated a significant difference in performance scores between the RPT-only and control groups, with the RPT-only group scoring significantly higher, raising questions regarding the ineffectiveness of the modeling intervention. Results prompt further questions regarding the efficacy of expert modeling during RPT. Music educators, particularly those who work with beginning instrumentalists, are encouraged to implement RPT as an instructional tool to help promote student skill development and pro-social classroom behaviors while being mindful of teacher behaviors that may interfere with the efficacy of the RPT process.

Choral singing activates a range of psychological, psychosocial, and physiological mechanisms that shape how participants connect with one another. These mechanisms include interpersonal synchrony, the release of bonding-related neurochemicals, shared heart and respiratory patterns, and psychological processes that support emotional regulation and belonging. The purpose of this literature review is to synthesize interdisciplinary research to explain how these mechanisms interact to enhance social bonding in choral contexts. Integrating group singing into general music classes and applying these principles within choir curricula can support students’ emotional growth, stress management, and peer empathy. By designing activities that emphasize synchrony, coordinated breathing, and collaborative interaction, music educators can intentionally leverage these mechanisms to strengthen classroom communities and foster both social and emotional well-being.

Although musicians use movements that are required to produce sound, they also demonstrate expressive movements that are unnecessary for sound production—gestures that are often referred to as “ancillary.” The purpose of this study was to investigate the effects of planned and unplanned ancillary movements on observers’ perceptions of musical performances. Participants (N = 142) were adult community musicians who regularly attended concerts. Participants observed a recording of a trumpet duo performing an etude while demonstrating one of three types of movement (planned ancillary movements, unplanned ancillary movements, and a static condition without ancillary movements). Participants provided ratings of technical accuracy, expressivity, performer communication, and enjoyment. There were no significant main effects for ratings of accuracy or expressivity. However, participants rated performer communication and enjoyment differently based on the type of movements displayed. We offer pedagogical recommendations about ways that music educators can encourage students to use ancillary movements.

Active learning involves instructional approaches that engage students in meaningful thinking and reflection. This work evaluated the effect of active learning on academic achievement in music education. While prior meta-analyses in other disciplines showed positive effects, no quantitative review existed for music. A comprehensive search identified 27 eligible studies, with 20 reporting usable quantitative data. After addressing an outlier, pooled results from 15 independent effect sizes showed a moderate, statistically significant positive effect (ES = 0.46, 95% CI [0.22, 0.70]). Comparisons across groups detected no significant moderation by educational level or strategy, though higher education showed the largest mean effects. Although variation across studies was high, active learning consistently benefited music-specific achievement. The review highlights gaps in methodological rigor and a scarcity of studies in primary and higher education. Overall, findings indicate that active learning enhances achievement in music education, though more high-quality controlled studies are needed.

In this study, we documented and compared the assessment perceptions and practices of elementary music educators in NAfME’s Eastern Division. State MEA organizations and NAfME distributed a researcher-designed survey in which respondents (N = 109) answered Likert-type items and items focused on the use of assessment and feedback strategies. We analyzed results based on participants’ demographics and teaching responsibilities (i.e., choral ensemble, general music, band ensemble, orchestra ensemble, other). Independent of teaching responsibility, these teachers reported overall positive perceptions of assessment’s role in music classrooms. Participants reported using varied assessments and feedback styles in their classrooms; in general, they rely on informal assessment over formal assessment and non-musical grading criteria over musical grading criteria. We recommend replicating and expanding this study throughout the country or as a qualitative or mixed methods inquiry.

Prior research indicates fundraising is a necessary job function for music educators, yet the how and why of the ways teachers engage in this activity is not well understood. This study sought to investigate the fundraising practices of music educators in the Commonwealth of Virginia. A survey was sent to all members of the Virginia Music Educators Association, as well as solicitations to the fine arts supervisors in the 50 largest districts in the state. Results indicate that teachers raise funds for a variety of expenses, including basic necessities such as instrument repair and required performances. Teachers also reported using many different types of fundraising strategies including item sales, direct appeal (e.g., GoFundMe), and large single events. A majority of teachers agreed with the statements “Fundraising is necessary for me to do my job well” and “I fundraise for materials I believe should be provided through my school budget,” indicating a need for more investigation between school budgets and instructional expectations/teacher evaluation processes. Implications include recommendations for teachers including advocacy talking points.

This descriptive study examined elementary music teachers’ perceptions of their preparation and implementation of general music approaches. Missouri elementary music teachers (N = 142) participated via email survey. Kodály and Orff Schulwerk were most frequently implemented, accounting for the greatest classroom time allocation, yet most teachers lacked formal credentials in these approaches. Teachers felt most prepared to teach singing and least prepared for improvisation and composition. Orff Schulwerk training was associated with significantly higher confidence in teaching improvisation and composition, whereas participants with Kodály training reported higher levels of confidence for teaching listening. Teachers demonstrated strong confidence for teaching traditional activities (singing, instrument playing) but lower preparedness for creative pedagogy and pedagogical approaches, possibly suggesting gaps in teacher preparation. Responses to open-ended questions revealed participants perceived that their preparation programs emphasized secondary over elementary music education. These teachers reported pursuing continued professional development through workshops and training to strengthen their elementary music expertise.

The purpose of this literature review was to outline and explore the identity construction, developmental pathways, and potential conflicts faced by music teachers at various stages of their careers. Using thematic content analysis, we synthesized research in four areas: the structure and characteristics of music teacher identity, identity conflicts and role negotiation, critical factors influencing music teacher identity formation, and strategies for strengthening and sustaining music teacher identity. The review mapped developmental pathways from preservice through experienced practice and highlighted points where targeted support might be helpful. By clarifying how identities were formed, challenged, and adapted over time, the review offered practical implications for curriculum design, induction, and ongoing professional learning. These insights could help music teachers at different stages clarify and intentionally guide their identity development and professional growth, supporting progress toward expert practice.

Folk songs are abundant in music education materials, including general music curriculum series (GMCS), but are often missing cultural, historical, and general sourcing information, contributing to folklorization. In the present study, the researchers sourced music labeled “traditional” in one GMCS by employing a historical-descriptive research study with a critical folklore lens. Twenty songs from the series were selected and investigated to determine a process for sourcing folk songs. While discovering sources, the research team used four categories: songs with clear origins in a primary source, songs with a most common variant, songs without a common variant, and songs of questionable nature. The process of discovering and investigating sources revealed that sourcing (1) provides information that elicits networked awareness of the histories, cultures, and contexts surrounding folk songs and (2) supports musical content, cultural context, and teaching pedagogy that can improve and vary instruction.

In this article, I interrogate how music educators understand the importance of social justice education. Data was generated through interviews with 10 currently practicing Grade 7–12 music educators from Manitoba, Canada, and reflexively analyzed through poststructural and anti-colonial theoretical perspectives. Findings reveal that participants’ perceptions regarding the importance of social justice education are both constructed within and constrained by the dominant discourses of the Western classical ensemble paradigm. Specifically, because study participants are regulated by the expectation and normalized understanding that to be a music educator is to focus primarily on technical skill development in pursuit of performance excellence, the importance of social justice in relation to their roles as music educators is diminished and devalued. This article is significant in coming to know how the dominance of the performance paradigm potentially limits music educators’ willingness and ability to pursue social justice.

The purpose of this literature review is to explore connections between music learning and second-language (L2) acquisition, focusing specifically on aural skills development. I present wide-ranging studies in L2 pedagogy and connect them to research and practice in music instruction. The synthesis of this research demonstrates parallels between the two fields regarding students’ motivation for aural skills development, physical challenges with pronunciation and performance, and integration of mental and physical skills. These comparisons yield practical considerations for pedagogical strategies in each field and interdisciplinary connections. The review concludes with recommendations to teachers for helping students find their own musical “voice,” maximize their observations of musical models, practice listening and “pronouncing” wisely, and prepare for relevant and meaningful aural-based assessments. Recommendations for future research in both fields focus on incorporating larger, more relevant targets in experimental designs, crafting longitudinal reports of long-term interventions, and investigating the efficacy of specific pedagogical practices.

The purpose of this study was to examine secondary school ensemble major (SSEM) teachers’ instructional importance ratings of various undergraduate elementary general methods course contents. Participants were current music teachers who teach general music in elementary school but had an emphasis on SSEM in their music teacher-preparation program. They rated the instructional importance of 14 contents that are frequently taught in undergraduate elementary general music methods courses. Five contents that secondary ensemble teachers rated highly important in preservice music teacher education were rhythm, song teaching, lesson planning, classroom instruments, and movement. The study’s findings indicated that interactive communication between elementary general methods course instructors and elementary general music teachers whose specialized teaching areas are secondary ensemble would benefit preservice music teachers’ elementary general music teaching preparation. A network of elementary music teachers including SSEM teachers should be promoted to share instructional tips, skills, and knowledge that are important in elementary general music classrooms.

The question of who is enrolling in choral ensembles, and why they choose to, is one of long-standing interest and concern in the choral music education profession. The purpose of this exploratory descriptive study was to determine which factors high school students rated as the most important motivators to enroll in choral ensemble classes and examine any impacts demographic factors might have on those ratings. A survey was completed by high school choral students (N = 122) from four states, addressing students’ ratings of the most important motivators and their current favorite aspects of choral participation. Data analysis indicated two overarching categories for these factors, singing and external factors, of which choral students rated singing factors as the most influential. Teachers should highlight the opportunities for singing and growth in singing when encouraging new students to join their choir programs.