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The aim of this article is to investigate participants' engagement in music activities in ethnic-based associations today, in the light of 1) the Swedish integration and cultural policies from the 1970s and 2) general conditions for social and political inclusion through association engagement. As a starting point, we discuss the ideas behind the cultural and integration policies launched in Sweden in the 1970s, and how they have changed due to societal changes and shifting discourses during the recent decades up until today. In our previous research, we have found that engagement in music activities in ethnic-based associations has played an important role for both individuals, groups and on a societal level. Bonding musical activities within the associations have been intertwined with bridging contacts with others, and inclusion in other activities outside the associations, in line with the basic ideologies and assumptions of the policies from the 1970s. However, such synergy processes only seem to have been valid under some general conditions of inclusion and exclusion. These conditions are signified by: 1) The quality of, and the extensions of social networks, 2) The inner structure and organization of the associations, and 3) The social climate and the political governance of the local community. In the end of the article, we add a discussion on how the ideas of the early policies comprehended these general conditions of inclusion, even if they were not implemented fully in practice.

"Music as Agency: Diversities of Perspectives on Artistic Citizenship focuses on the concept, application, interpretation and manifestation of Artistic Citizenship in diverse contexts. The key concepts that the book tackles are: Cultural experience, artistic practice, musical identities, equity, democracy, community, activism, resistance and empathy. In giving an overview of aspects of the compound concept of artistic citizenship, Akuno and Westvall present the outcome of research and interrogation of practice by a global network of educator-researchers from Africa, the Americas, Asia and Europe. The book articulates notions of artistic citizenship, coming up with the term artizenship as a derivative of the composite term. It further explains and analyses practical ways of perceiving and relating to art spaces, art practices and arts objects towards belonging, being and becoming in a global space that is disparate, polarised and often alienating, and thus responding to issues such as social justice, identity, participation and inclusion. With a focus on music, the book targets musicians, scholars, educators and enthusiasts keen on gaining a deeper understanding of how music and musicking can influence human interactions towards social integration, trust, cultural awareness and intercultural understanding"--

Introduction : artistic citizenship in a global perspective / Maria Westvall & Emily Achieng' Akuno -- Art for all's sake : co-creation, "artizenship," and negotiated practices / Charles Carson and Maria Westvall -- Social engagement towards artistic citizenship in music teaching / Flávia Motoyama Narita -- Civic responsibility through artistic citizenship and empathy : 21st Century feminist aims for music education / Marissa Silverman -- Artistic citizenship and cosmopolitanism in musical-social work / Kim Boeskov and Kristine Ringsager -- Artistic citizenship as practices of everyday resistance / Oscar Pripp -- Practicing citizenship artistically : an autoethnographic account of a Chinese-Canadian-Brazilian music educator / Nan Qi -- Building citizenship in contexts of democratic recovery : a review of Chilean cultural policies on music education, 1990-2022 / Carlos Poblete Lagos -- Articulating sound citizenship in the general arts classroom towards sound awareness and sound living : a perspective from Singapore contemporary artists / Chee Hoo Lum -- Music making in the construction of culture : artizenship through emerging music styles in Kenya / Emily Achieng' Akuno -- Conclusion : artizenship, agency, actions.

This article concerns students of music education in Sweden. It investigates the student teachers' perceptions of their ongoing music teacher education, with a particular focus on the task of teaching music today. It considers whether they believe their teacher education prepares them for this undertaking, and in that case, how. Their various experiences from their school-based in-service education are considered, and the findings lead to a discussion of ideological issues with a bearing on democracy, the value of music and the function of music as a curriculum subject.

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.