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Music Generation is the title of one of the most significant national initiatives in music education in Ireland. It seeks to put in place a countrywide infrastructure for instrumental and vocal music education. It has long been awaited. Over the last 30 years numerous reports and initiatives have highlighted the geographic inequity of the lack of access to high quality and affordable music tuition outside major urban centers.(1) In the ensuing years many ambitious plans and proposals have been made, including those commissioned by Government.(2) Funding to realize these plans however was always elusive. It is significant that they are now made possible not by a national government-led initiative, but as the result of philanthropy. This essay examines the context in which a philanthropic gift by the Irish rock group U2 and the philanthropic organization The Ireland Funds has enabled the development of a much needed nationals system of vocal and instrumental music education. Furthermore, it explores how philanthropy has shaped the development of this new national infrastructure and influenced the guiding principles.

The embedding of informal practises in music education in school relates to significant issues concerning students' engagement, participation, inclusion and the role of the teacher. This article addresses these issues by presenting and discussing current music education in compulsory comprehensive schooling in Sweden. It does so by drawing upon music pedagogical research, music education studies conducted during the last ten years and national evaluations. Examples of practice from upper secondary schools are also used to clarify and illustrate the issues under consideration. It has been said that Swedish music education has gone from 'School Music' to 'Music in School'. This development has been characterised by greater influence of students on curriculum content resulting in increased use of popular music, and, consequently, teaching strategies acquired from informal music playing contexts. The curriculum states that the core of the subject is practical music playing, through which personal development can occur – both musically and socially. Music education in several other countries is developing a more practical approach, and the role of popular music in schools and what is sometimes called informal learning is featured in international music pedagogy debates. This article considers the musical, pedagogical and democratic consequences of this pedagogy from a Swedish perspective. As a result of a sharp focus on personal social development and individual students' musical interests, music education has become relatively limited in terms of repertoire, content and teaching methods. Recent evaluations and studies also demonstrate that music education lacks direction, and is short of creative engagement with music. The role of the teacher is unclear and sometimes lacks in validity in a practical music education situation. Viewed from an international perspective, the kind of music education that has developed in Sweden is relatively unique. Thus, when the possibilities and limitations of music education in Sweden are discussed, it has the prospective to be of interest to international music education research.

This study investigates the funding of popular music education (PME) in Wales at a time when the Welsh government is examining its current Music Service provision. Our research considers the potential impact of this move on PME in Wales, alongside analysis of the availability of state-funded PME across the four UK nations. Music curricula and funding have historically favoured Western art music (WEAM), with PME often happening in more informal settings. However, this situation has changed in recent years, with both state and private funders now providing more support for PME in Wales. Our research includes interviews with both funders and grantees offering PME activities across the country, finding that the terminology used to describe PME varies widely between organizations. We also observe that Welsh organizations face challenges in both applying for, and receiving, funding.

Democracy, open source and music education? A Deweyan investigation of music education in digital domains. Music has not been solely temporal for more than a century, and musical performance has not been created exclusively in real time by humans since the piano roll entered the stage in the late 19th century. The mechanical, and later the digital, music industry has changed music as a social phenomena, increasing the availability of music to listen to, tools to create music with as well as distributional and communicational aspects of music. Music consummation happens either through live music as it always has, or through a recordings which today is mostly digital. Digital tools for creation, evaluation, distribution and consummation imply particular challenges regarding ownership and intellectual property which influence and have consequences for music education both as practice and philosophically. The purpose of this paper is to discuss how licensing of music software and music can be understood in relation to democracy in music education. A deweyan pragmatism will be used as a lens through which to discuss this purpose. In this paper, the focus is on software licensing, only slightly touching upon the similar discussions regarding music licensing and availability of research. In Dewey's writings, democracy is more than a political system. Democracy is a desirable way of social interaction in "conjoint communicated experience"[1]. Experience is seen as shared, and education is seen in the light of a pragmatist meaning of truth, where meaning is created and recreated through social interaction. For education to be good in a Deweyan democratic sense, it would have to facilitate free speech, respect, free access to knowledge and multiple ways of accessing and producing knowledge. Digital tools have, despite the overall increased accessibility to knowledge, forums for expressions and expressional tools, brought new challenges into the music educational domain. How to deal with music available in the digital domain, and as such being eternally reproducible without any degradation of sonic quality is one such challenge. On the one hand, music from everywhere and anytime can be reached by a mouse click, but on the other hand, music is usually distributed as intellectual property and as such it is illegal to redistribute the music even in an educational setting. Another related challenge concerns the software used in music classrooms. Software on the two major operative systems, Microsoft Windows and Apple OsX is usually close sourced and having end user agreements which prohibit any modification of the software. If these softwares are compared to other musical instruments, the software are not owned solely by the musician, since the software, unlike other instruments, cannot be modified, repaired or improved. Lately there has been a reaction against the lack of democracy in the software industry through the open source movement. Open source music software are not backed by any large company, but instead developed by groups of developers releasing the code for anyone to improve and change. However, the software might not have the same level of stability and general usability for beginners. The possible educational implications of choosing a proprietary solution versus open source alternatives will be discussed. [1] Dewey, John (1999[1916]). Democracy and education: an introduction to the philosophy of education. [New ed.] New York: Free Press p. 130.

The purpose of the article is to consider the concept of "internationalisation of tertiary education', to trace the problems on the way to the internationalisation of the educational environment, to summarise the recommendations for a successful process of internationalisation of music education in Ukraine, to formulate the main goals of internationalisation of music education. The research methodology. The article uses the following methods: analytical method has been used to study the concept of internationalisation of music education; comparative analysis – to compare different scientific opinions on the process of internationalisation of music education in Ukraine. Elements of universal logical procedures of cognition have been applied: induction and deduction, analysis and synthesis. Scientific novelty lies in the generalisation of recommendations for a successful process of internationalisation of music education in Ukraine, as well as the main goals of this topic. Conclusions. The greatest success in the internationalisation of music education can be achieved only after the development and adoption at the state level of a strategy with a clear definition of goals, priorities, mechanisms, and a system of measures, supported by appropriate financial backing. Internationalisation of music education in Ukraine should be organised in two aspects: organisational and systemic. Organisational aspect comprises structural, functional, administrative, academic, and cultural readiness. The systemic one consists in economic and financial support from the state, administrative and regulatory mechanisms. Universities are of particular importance in the process of internationalisation of music education, it is their responsibility to introduce the best models of internationalisation of music education based on European experience and their own strategy. When considering how to prepare students to be active in the international music education community, it is important to take into account a successful role model. The task of a role model is not only to introduce young scholars to important people in the global music education community, but also to model how to act in a global context, such as how to deal with intercultural differences or how to support the internationalisation of music education in different ways. In the process of integrating music education in Ukraine, it is important to take into account a successful example to follow. We can summarise that the main goals of internationalisation of music education in Ukraine are as follows: 1) active international cooperation; 2) continuous improvement of the quality of educational, scientific and other services through the introduction of best international practices; 3) formation of a modern innovative environment of students and staff with high-level linguistic and intercultural competencies, able to adequately respond to global challenges; 4) development of skills and abilities that will allow students to compete confidently in the global labour market and feel like full members of the world community; 5) introduction of a culture of openness and tolerance.
Key words: music education, academic mobility, educational policy priorities, internationalisation of tertiary education system.

"Music from the backyard": Hagström's music education, is a PhD thesis that investigates the music education that the company Hagström ran from 1946 to 1983. The aim of the thesis is to investigate and recreate Hagström's music educational history from a Deweyan pragmatist point of departure. The study searched for answers to the following questions: What were the societal and educational settings in which Hagström's music education took place? How did Hagström's music education develop, and what led to its rise and fall? What educational content and pedagogical ideas constituted Hagström's music education? How can Hagström's educational enterprise be understood with the help of Bourdieu's theories of symbolic capital? Because of the historical nature of the study, the availability of empirical material was limited. Hagström had some archived material which I was given access to, and there were a great deal of periodicals from the time with articles about music education on people's spare time. Additionally, the Hagström course books were important documents, since they were the only centralized document to govern the directions for Hagström's music education. The pragmatist perspective of the study led to a desire to highlight parts of the human experience that constituted the history. Based on a snowball-sampling strategy, I traced down eleven persons from Sweden and Norway which were interviewed.The results of the analysis became a story about Hagström in the society - a story that revealed an entrepreneur whose company grew quickly and represented other values than the better parts of the cultural establishment in Sweden. The company rested on several pillars: The production of accordions, and later on even guitars, basses, organs and amplification systems, import of music merchandise, as well as the largest chain of music retail shops in the Nordic countries. The music education started in 1945 in Växjö, and in 1946, the rest of the country. In the beginning they taught accordion and guitar, but later developed to include electric bass, organ and keyboard as well. The courses were organised as group education with a duration of ten weeks in a semester. Geographically they were spread all over Sweden as well as around Oslo, Bergen and Copenhagen. All in all there were close to 100 000 pupils attending Hagström's music education. Hagström's music education was, despite new ideas such as group education and that the student should be able to play a melody as quickly as possible, a fairly traditional master-apprentice kind of education. The teacher demonstrated what he considered to be the correct technique and musical performance, and the student imitated. The pupil had little or no opportunities to influence the content of the education. On a macro level however, Hagström's music school was important in the process towards a more democratic music education in Sweden. Hagström helped to increase the availability of music education through their geographical dispersion as well as the affordability of attending the courses. An important difference from the other agents on the market that aimed to refine the students' musical preferences, was that Hagström had no musical agenda. Hagström might have contributed to Sweden's strong position on the global popular music scene. ; "Från musikundervisningens bakgårdar": Hagströms musikpedagogik är en monografi som behandlar den musikundervisning som bedrevs i företaget Hagströms regi från 1946 till 1982. Syftet med avhandlingen var att undersöka och återskapa Hagströms musikpedagogiska historia med utgångspunkt i ett pragmatisk utbildningspedagogiskt perspektiv. Studien sökte svar på följande frågor: I vilka sociala och utbildningsmässiga kontexter försiggick Hagströms musikutbildning? Hur utvecklades Hagströms musikundervisning och vad ledde till dess uppgång och fall? Vilket pedagogiskt innehåll och vilka pedagogiska var väsentliga i Hagströms musikpedagogiska verksamhet? Hur kan Hagströms musikpedagogiska verksamhet förstås med hjälp av Bourdieus teorier om symbolisk kapital? Som historisk studie var det tillgängliga empiriska materialet begränsat. Hagström hade en del arkivmaterial lagrat som jag kunde få tillgång till, och det fanns en mängd tidskrifter från den aktuella perioden som behandlade utbildningen. Kursböckerna var viktiga dokument genom att de var de enda centraliserade styrdokumentet för hur Hagströms musikskola skulle utformas. Det pragmatiska perspektivet förde med sig ett behov av att synliggöra delar av den mänskliga erfarenhet som konstituerar historien. Baserad på en snöbollssamplings-strategi spårade jag elva personer från Sverige och Norge som jag intervjuade. Resultatet av analyserna blev en historia om Hagström i samhället - en historia som visade en entreprenör vars företag växte snabbt och i opposition till stora delar av det kulturella etablissemanget i Sverige. Bolaget hade flera ben att stå på: Produktion av dragspel och senare även gitarrer, basar orglar och förstärkarsystem, import av musikutrustning, försäljning genom Nordens största kedja med butiker, tryck av noter samt musikundervisning.Musikundervisningen startade 1945 i Växjö och 1946 i resten av landet. Instrumenten som det inledningsvis undervisades på var dragspel och gitarr men det utvecklades till att även inkludera elbas, orgel och keyboard. Kurserna var organiserade som gruppundervisning och en kurs pågick under tio veckor. Geografiskt var de spridda över nästan hela Sverige samt runt Oslo, Bergen och Köpenhamn. Tillsammans estimerar jag att uppemot 100 000 elever har fått undervisning i Hagströms musikskola. Hagströms musikundervisning var, trots nya idéer som gruppundervisning och att eleven snabbt skulle uppnå klingande resultat, en variant av traditionell mästare-lärling-pedagogik. Läraren förevisade vad som ansågs rätt teknisk och musikalisk och eleven imiterade. Eleven hade liten eller ingen påverkan på innehållet i undervisningen. På ett makroplan var Hagströms musikskola viktig i arbetet med att demokratisera svensk musikpedagogik genom att tillgängligheten ökade. Vidare var kursavgifterna överkomliga och det var billigt att hyra instrument. Hagström hade ingen musikalisk agenda, vilket skilde honom från andra aktörer på marknaden som hade som mål att förädla elevernas musikaliska preferenser. Hagströms musikskola kan sägas ha bidragit till vad som nuförtiden kallas det svenska musikundret. ; Godkänd; 2009; 20090501 (kettho); DISPUTATION Ämnesområde: Musikpedagogik / Music Education Opponent: Professor Gunnar Ternhag, Högskolan Dalarna Ordförande: Professor Sture Brändström, Luleå tekniska universitet Tid: Fredag 5 juni 2009, klockan 13:00 Plats: Musikhögskolan Piteå, Sal L165

Music Education in Luxembourg and its Assessment. 1. Assessment of Pupils According to Martin Fautley (2012), not everything what is taught, is always learned, and therefore music education also needs assessment. In my lecture I will first give a short insight into the formal school system in Luxembourg and its recent change from summative to formative evaluation. In 1998 the parliament of Luxembourg voted a law of music education. The aim was to offer an equal level of music education in every region of the country and to motivate more children to attend music courses. The assessment system in music schools was based on summative evaluation known from general schools. Current tendencies finally try to adopt a more smooth method of evaluation in order to improve the pupil's learning success and in order to critically scrutinize the teacher's training activity. After the description of the organization of music schools in Luxembourg, I will consider this change of paradigm. 2. Assessment of the System? Music education in Luxembourg is based on the francophone system of solfège, a method for future singers and professional musicians, including audiation for beginners at the youngest age. It is also partially transferred to some instrumental disciplines. However, during the last two decades, in these countries – France and Belgium – solfège has been replaced by a less rigorous and better-adapted method of musical training. In contrast to these countries, the Luxembourg system of music education never has been assessed. Music-school teachers graduate in the neighboured countries. While degree holders from music universities based on the German system have to study educational sciences (a minority), their colleagues issued from the French tradition (the majority) never did. They specialized in their main discipline, are skilful artists, but have no pedagogical grade and acquire educational skills in learning by doing or not at all. But, decisions concerning further development and pedagogical improvements should be managed in accordance to todays (pedagogical) needs. My paper will focus on this weak point in giving a historical insight into the system of solfège and its didactics over the centuries beginning with Guido of Arezzo up to Rousseau until its current use in Luxembourg and, depending on it, the instrumental disciplines. I will focus on the pedagogical needs, which have led to changes over this long epoch. An independent evaluation of music education in Luxembourg by external is absolutely necessary. I will conclude with some reflections on statements by some alumni of music-schools, which could serve as a model for an external assessment.

This article discusses the challenges of teaching and sustaining music and other performing arts on the island of Lombok in Indonesia. It follows my field research trajectory on the island over a period of 34 years and analyzes the efforts of government interventions, non-government actors, and teachers and educational institutions in the transmission and sustainability of the arts. Interpretations indicate that a combination of globalization, urbanization, social media, everyday mediatization, and Islamization over recent decades negatively impacted traditional musics in specific ways, by problematizing sustainability. However, several agents–individuals inside and outside the government who understood the situation and had the foresight to take appropriate action–developed programs and organizations to maintain or aestheticize the performing arts, sustain musician livelihoods, and engage a new generation of male youth in music and dance. These efforts, supplemented by the formation of groups of leaders dedicated to the study of early culture on Lombok and fresh initiatives in music education, have ushered in new opportunities and visibility for traditional music and performing arts and performing artists.

The Central Communist Party (CCP) of the People's Republic of China (PRC) describes China as a unified multinational country. National policies advocate cultural diversity in the educational system with particular emphasis on the notion that diverse ethnic minorities contribute to zhonghua minzu—a single united Chinese nationality. Drawing upon the theoretical frameworks of musical authenticity as well as two tenets of liberalism theory, equal concern and cultural neutrality, the study aims to understand how government-designed national K1–9 music textbooks represent the Chinese ethnic minority's musical and cultural traditions.

This paper examines music education's legitimation of values as a means of preparing students for entry into the new 'knowledge society' of the People's Republic of China in a global age. It explores the ways in which values education relates to the teaching of both musical and non-musical meanings in the dual context of nationalism and globalization, and discusses some problems that values education faces in school music classrooms. It examines the ways in which globalization has pressured values education into resolving the apparent contradiction between national identity and national unity in the ever-changing play of Chinese history and politics. It concludes with a discussion of how music education might juggle three pairs of apparently contradictory relationships in the curriculum: between contemporary cultural and social values on the one hand, and traditional Chinese and Communist ideologies on the other; between collectivism and individualism; and between national and global cultures. © 2009 Taylor & Francis. ; postprint

The purpose of this mixed methods study was to investigate, describe, and understand the current provision of music education in post-primary (secondary) schools in Ireland as reported by school principals. Data included a large-scale national survey (n = 410) with a 59% response rate and 17 follow-up face-to-face interviews. The findings revealed how music instruction was provided for, in addition to principals' expectations of music programs and music teachers. Using a systems ecological framework, factors influencing principals' support of music in schools were also identified. It was found that music education practices are inconsistent throughout post-primary schools to the point of insidious decline in many schools, as principals are not all exercising the autonomy granted to them to develop equitable curricula and music-making opportunities. Music programs tended to exist less frequently in all-boys' schools and in smaller schools. Based on the degree to which principals demonstrated commitment to the implementation of music in their curricula, three distinct types of principals emerged and were categorized as the Progressives (managing schools with exemplar music programs), the Maintainers (struggling to develop music in their schools) and the Disinclined (unwilling or unable to implement music in their schools). The majority of principals articulated high expectations for music in the school and communicated the importance of music in the curriculum for aesthetic, utilitarian, and extra-curricular benefits. However, principals' glowing endorsements of music education did not necessarily translate into action and implementation. Principals highlighted that the vibrancy of a music program is contingent upon recruiting competent, committed, and positive music teachers who act as evangelists for music. The absence of a clear and cohesive framework for principals from centralized government, the Department of Education and Skills (DES), is inimical to the development of music in schools; whereas creative ...

This paper can be understood as the result of philosophical reflection on a music educational project that has already taken place. The main aim of the project was the strengthening of the emotional competence of the students. Although the developments in psychology show crucial mechanisms with which music induces emotions, several new questions emerge that shift the discussion in the field of philosophy: how should we as teachers encounter emotions in the classroom and especially in the music classroom? What should educators try to achieve and what is allowed? How should our emotions and students' emotions be handled? It is obvious, that these questions require answers mainly in the field of practical philosophy as well as ethics and politics. The philosophical work of Martha Nussbaum can be used as an appropriate basis with which to discuss and to answer some of these questions. The way Nussbaum considers emotions can help us to understand and also to re-design the project as the place of the free experiencing of emotions and of reflecting on and discussing emotions. Nussbaum's thoughts, as a philosophical framing of our project, build the basis on which to combine emotions and ethics in the classroom and offer an area for an open dialogue about our questions. This dialogue can help us to think and to justify our decisions or to find new ways for a music education that embraces the emotions in the classroom and strengthens the emotional competence of students and teachers.