Journal articles on the topic 'Tertiary music training'

Over the past two decades the topic of graduate outcomes has increasingly informed the discourse on the changing nature of universities. For conservatoires and university music departments the global shift in audience demand away from western classical music and jazz styles (traditionally the cornerstone tertiary music programs) to contemporary commercial music (CCM) has added an extra dimension to the graduate outcomes discussion with respect to vocation preparation and musicians’ portfolio careers. Few studies have tracked the career paths of music graduates across time with none focused on jazz/contemporary singers. This report discusses the findings from a snapshot study of Jazz/Contemporary Voice graduates (2001 to 2012) of one Australian conservatoire. The purpose of this research was to better describe this population of graduates in terms of employment outcomes, the dynamics of their employment activities, employment-seeking strategies and the relevance of university coursework to their employability. Their responses have implications for tertiary music training programs.

This article reports an exploratory study into applied music teaching at a tertiary level. The study was staged as a case study where the case comprises one performance lecturer of clarinet and eight of her students. The focus of the study is how a performance teacher with no formal teacher training fares in the training of musical performers, how students respond, and what are the particular successful or unsuccessful issues in ‘commonsense teaching’. The data were gathered through participant observation and questionnaires. The findings suggest that the distinction between the role of the pedagogue (skilled in the dynamics and principles of teaching and learning) and the role of the expert performer (skilled mainly in the domain of performance) is an essential distinction to make. However, it is also a distinction that traditional performance teaching at a tertiary level seldom makes. The article concludes by tentatively proposing some pedagogical considerations for applied music teaching, as drawn from the case study.

Tertiary music students show patterns of playing-related musculoskeletal disorders (PRMDs) similar to professionals, indicating the need for effective education in management and prevention during student years. When problems occur, music students are most likely to seek advice from their instrumental teachers; therefore, it is important for teachers to be involved in ensuring education programs are relevant to the occupational and artistic needs of both student and professional musicians. Musicians have previously reported improvements in outcomes associated with PRMDs and performance quality following Alexander Technique (AT) classes. In this study, 12 university music students and eight of their teachers evaluated video-recordings filmed before and after a semester of weekly, purpose-designed AT classes. Positive changes were observed in muscle tension, posture, tonal resonance, breathing, instrumental technique, and movement quality. Noted improvements were consistent with student participants’ subjective experiences, reported previously from questionnaire data. The results suggest that AT training at the instrument may have a direct positive impact on key factors associated with PRMDs as well as playing quality. Use of video assessments as a component of controlled, mixed-method studies with larger populations is recommended to establish the potential value of AT for inclusion in music training.

Background: The cochlear implant (CI) is one of the most important recent technological advances in healthcare. Even with this new technology, participants continue to have complaints regarding the performance of the CI. Auditory training is a procedure that provides the individual with performance improvements in auditory skills. One possible auditory training is music therapy. Objective: To verify the influence of music therapy on spoken language comprehension in participants who are post-lingual users of cochlear implants. Design and setting: The current research is a cross-sectional study. It was carried out in a university public institution, with a tertiary healthcare ranking. Method: Nine post-lingual implanted individuals participated in this study (average age: 52 years). These individuals had ten music therapy sessions, conducted once a week. The sentence comprehension test was used for hearing evaluation. All participants underwent a homework moment before the music therapy, and they were evaluated at three different times. Results: We observed significant improvement in understanding spoken sentences after music therapy. Conclusion: Music therapy was a useful tool for improving auditory and speech comprehension skills in post-lingual users of cochlear implants.

Music is ever-present in early childhood but does not feature strongly in the national curriculum framework – The Early Years Learning Framework in Australia or in the intentional practice of educators in early childhood education and care settings. This is mainly due to a lack of knowledge and confidence or self-efficacy to engage musically with the children. Preservice educator training plays a critical role in the development of effective pedagogical skills, knowledge and understanding. This article explored the music education preparation that preservice educators receive in initial training. A content analysis approach was used to review course content of all approved preservice educator programmes in Australia by the Australian Children’s Education & Care Quality Authority. Interviews with tertiary teachers explored content taught. The findings offer rich insight into the extent of music education provided for preservice early childhood educators and implications for the development for future programmes.

This article reports an exploratory study into applied music teaching at a tertiary level. The study was staged as a case study where the case comprises one performance teacher of piano and nine students. The focus of the study is how a performance teacher with no formal training fares in the training of musical performers, how students respond, and what are the particular successful or unsuccessful issues in what could feasibly be termed ‘commonsense teaching’. The data were gathered through participant observation, informal interviews and questionnaires. The findings suggest, after content analysis, that the distinction between the role of the instrumental teachers and the role of the expert performer is an essential distinction. In spite of good intentions the participating teacher failed to provide a successful instructional strategy. The article concludes by tentatively proposing some instructional considerations for applied music teaching, as drawn from the case study.

Pontianak City has the potential for training and development of Malay cultural arts. The arts in West Kalimantan generally include dance, music, theater (folklore) and handicrafts. Special events in West Kalimantan will be the culmination of these arts and cultural performances, namely through festivals. This art can be used as a mainstay to face the ASEAN Economic Community. The final project of the Malay Art and Culture Hermitage of West Kalimantan aims to produce a special building design for Malay art and culture with the scope of cultural arts education, recreation, and tourism that can attract public interest. Design boundaries include the arts of music, dance, theater, crafts and cooking in West Kalimantan. The design method of the Malay Art and Culture Hermitage of West Kalimantan was carried out in several stages, namely ideas, data collection, identification, analysis, synthesis, and design development. The concept used in the design is based on the Facilities and Infrastructure Course and Training Institute Standards in 2017. Design analysis produces three functions, namely primary (education), secondary (administration, exhibition, performance) and tertiary (maintenance) functions. The result is that these three functions are combined in one into nine main buildings with a centralized organizational pattern of space, circular circulation, facades, and forms with Malay characteristics.

Throughout much of the 20th century, the Western classical vocal aesthetic dominated tertiary singing training in the Republic of Ireland. At the turn of the 21st century, and reflecting similar movements internationally, Irish institutions, examining boards and private teaching studios diversified to include musical theatre and popular styles of singing in degree programmes and syllabi. The purpose of this study was to further understand voice teacher perceptions of these shifts in pedagogical culture. This research questioned how classically trained teachers of singing negotiate teaching across styles in popular music genres, and also questioned if implicit, embodied cultural ideas about classical singing defined their educative approaches to popular music vocals. Data were collected through in-depth qualitative interviews with classically trained teachers of singing in the Republic of Ireland. Analysis of interview data revealed a number of themes which are discussed within a theoretical framework drawn from the work of Bourdieu, revealing that the participant teachers are involved in processes of negotiation and re-negotiation of personal and institutional habitus.

There appear to be considerable differences in the outcomes of group string teaching programs in Queensland. Some teachers appear to be able to generate, manage, and administrate highly efficacious programs; others seem to experience difficulty transferring the knowledge and skills required for students to become successful string players. As a case study with multiple participants, this investigation set out to document the reflections of mid-career group string teachers, observe the outcomes of their programs and teaching methods, and establish a preliminary collective profile of skills, knowledge, and attributes. Key findings include a high degree of overlap in the participant profiles, and the potential for further research into undergraduate training and post-tertiary supervision of group string teachers entering the workforce. Implications of the study include the need to appraise current undergraduate programs preparing group instrumental teachers in Australia, and the necessity for developing strategies to mentor these graduates in their early teaching years.

The way an improviser practices is a vital and significant aspect to a musician’s means and capacities of expression. Expert music performers utilize extensive self-regulatory processes involving planning, strategic development, and systemized approaches to learning and reflective practice. Scholars posit that these processes are constructivist and socioculturally explained and manifest in individual, jointly negotiated, and shared learning. This qualitative study explores the regulatory processes of four prominent Australian improvising musician-educators and four tertiary improvisation students. Expert and developing musicians’ processes in learning and teaching improvised music-making were investigated through observations of self-regulation, co-regulation, and shared regulation strategies. I identified and analyzed regulatory learning strategies located from practice, training, and experience using interpretative phenomenological analysis. Findings suggest insights of evolving self-regulative behavior that are dynamic, task-specific, personalised, and contextually contingent across individual and collaborative tasks and activity. An integrative regulatory model of learning offers guidance and reflection of metacognitive flow within a social constructed view of learning. Implications for researchers and educators are drawn for meaningful educational practice by knowing and understanding expert improvisers’ complex concepts of self-regulation, critical thinking, problem solving, and the evolution and evaluation of creative processes in improvisers.

The objectives of this research were to (1) study criteria for practice of the classical guitar test to be used as a guideline for the entrance examination for higher education in Thailand and (2) find the ways to develop curriculum of a short- term classical guitar for entrance examinations of higher education by studying the information from documents, principles, theories, and criteria of the classical guitar test to be used as a guideline for admission to higher education in Thailand. The results of the research were as follows 1) criteria for practice of classical guitar test to be used as a guideline for the entrance examination for higher education. There were 2 parts of the contents for examination including technically, candidates must be able to practice the scale, length was not more than 4 sharps, 4 flats in major and minor scales with arpeggio and the piece contained and exercise song and 2 general pieces, difficulty from Intermediate to advanced and there were differences in style of music eras or musical styles from different composers and all the pieces that test takers must play from memory, and 2) curriculum of a short-term classical guitar for tertiary entrance examinations that had a content consists of 2 parts. The first one, the content and course details, were the curriculum competency, course descriptions, tools, materials, equipment, training materials and learning resources and background knowledge and qualifications of trainees and the second one, measurement and evaluation consisted of 3 parts : a post-test to review the process and the duration of attending the training was not less than 80 percentage of the training time according to the curriculum.

Marlon graduated from the University of Santo Tomas (UST) Faculty of Medicine and Surgery in 1982. He completed his internship at the Ospital ng Maynila Medical Center (OMMC) the following year. He then proceeded to complete the OMMC residency training program in Otolaryngology-Head and Neck Surgery (then chaired by the venerable Dr. Angel Enriquez). In 1988, he attained the title of Diplomate in Otolaryngology-Head and Neck Surgery. Marlon established his private practice in his hometown of Tanza, Cavite. It is also here where he co-founded the Divine Grace Medical Center, the first tertiary medical facility in this part of Cavite. In 1989, with the encouragement of Dr. Joselito “Che” Jamir, a respected fellow Caviteño otolaryngologist, he joined the faculty of De La Salle Medical and Health Sciences Institute in Dasmariñas, Cavite, serving for 30 years as Assistant Professor. He also served as an Associate Board Examiner for the Philippine Board of Otolaryngology-Head and Neck Surgery until 2016. With this short statement alone, one can already see the exemplary medical career Marlon had. But to properly pay tribute to him, one must see and know the man behind the endoscope, the man beneath the white tailored medical overcoat. Marlon’s character was a bit of a paradox. He was a humble and modest person despite his substantial resources. He was unassuming yet self-assured. He was reserved but gregarious at the same time. For instance, in our conventions or other gatherings of fellows, he would most likely be seated at the farthest portion of the meeting quietly and attentively listening to the proceedings. But once outside the session hall when he gets to meet up with his buddies, he transforms and takes center stage in what will eventually be a boisterous exchange of banter. The usual suspects in these animated gatherings were Drs. Arsenio “Boy” Pascual, Howard Enriquez, Tomas “Tom” Antonio and Diosdado “Dado” Uy. Indeed, he was the epitome of someone who worked hard and played hard. He was a man with foresight. Instead of investing in clinic spaces in large and established medical centers in Metro Manila and Cavite, he staked his money on building the Divine Grace Medical Center, a tertiary medical center in what was then a sleepy town of Tanza, Cavite. This sleepy town is now a commercial and financial hub in the northwestern part of Cavite, with his hospital located right in the middle of all the commercial and infrastructure developments. And as his practice started to thrive, he tempered his success with kindness and compassion, earning him more prominence in his hometown. He was also a music aficionado. While many of us are only recently going back to the turntable and vinyl records, he never let go of his turntable set up. He was a bit of a snob when it came to music. He found tapes and digitized sound inferior to vinyl records, and his vinyl record collection is still an envy of many. He appreciated all forms of music, but the genre he truly loved (like a true Caviteño) was Rock and Roll. His love for music did not stop there. He was a musician as well and played a mean guitar. This is illustrated by the manner in which his family arranged the altar where his urn was placed. Amidst the flowers on the altar was a picture of a grinning Marlon with a guitar slung over his shoulder. His treasured guitars were right beside him: his acoustic guitar placed on one side of the altar and his electric guitar on the other. His true crowning glory however, was his family. He became a family man at the tender age of 21. His family was his foundation and inspiration. His lovely and ever supportive wife Ellie held the fort while he was away in Manila to study medicine and undergo residency training. They were blessed with 3 boys whom he was extremely proud of. His eldest son Marc (43 years old) is a US - trained interventional cardiologist who practices in several large medical institutions around Metro Manila and Cavite. Michael (40 years old) is an associate professor of entrepreneurship and marketing at De La Salle University – Dasmariñas and currently completing his requirements for his doctorate degree in business administration and management. The youngest son Mikko (32 years old) seems to have a special interest in local Cavite politics. Indeed, Marlon’s life was colorful and complete. Nonetheless, it was still too soon for him to embark on this final journey. But such is life and we just have to accept it. My dear friend and compadre Marlon, I raise my glass of your favorite Japanese single malt whiskey and congratulate you for a life well-lived. Godspeed and rest easy

:Medical training requires continuous efforts and high level of perseverance, patience and commitment from medical students. Due to this performance pressure, students face high level of stress which affects not only their health negatively but also their thinking and learning abilities gets hampered.This study aimsto evaluate the knowledge, attitude and practice of stress management among undergraduate MBBS students at Hamdard Institute of medical sciences & research, Jamia Hamdard attatched to Hakeem Abdul Hameed Centenary hospital, a tertiary care hospital, New Delhi, India.A total of 254 undergraduate students of first year, second year and third first year of MBBS were explained the aims and objectives of the study and written informed consents were obtained from those who were willing to participate in the study. The questionnaire consisted of 12 questions regarding knowledge, attitude and practice on stress management [Annexure attached]. The students were asked to fill the questionnaire by themselves within 30 minutes of time. Out of 12 questions, 4 questions were of knowledge, 3 of attitude and 5 of practice regarding stress management among medical undergraduates. The questionnaires were collected and evaluated for their completeness. The data were recorded in Microsoft Excel Worksheet and analyzed.Out of 254 total undergraduates, 32.3%, 35.8% and 31.8% of students were of first, second and third year MBBS, respectively. 46.5% were male and 53.5% were female students. 28.4% students gave a relevant definition of stress. The most common condition related to stress is anxiety (79.6%). Only 37.4% of students could answer the correct clinical features of stress. Most common stressors were large syllabus (124%), less study time (28.7%) followed by apprehension to viva-voce. 72.7% of students marked that they have faced difficulties in adapting to the new environment and feeling home sickness, which was particularly seen in first-year students. Lack of friends (58.6%) was the most common non-academic cause of stress. 64.9% students had confronted stress because of competition related stress. Most commonly used stress relieving activities by the students was listening to music (63.7%) mostly in female students, followed by watching internet videos (24.1%) particularly in male students. Meditation and prayer were practiced by only 0.8% of students. 2.4% of students indulged themselves in their favorite hobbies when felt stress out and 5.1% students became addicted to smoking and alcohol.There were various stressors among medical students which has an adverse effect on the mental health of the medical students. There is an urgent need to establish and implement some strategies in order to adapt with the prevailing stress factors. Therefore, apart from the academic teaching, extracurricular activities such as meditation/yoga classes, sport activities, psychological counselling etc., should be incorporated in the medical curriculum. This will enhance the ability of students to deal with stress more effectively and this will definitely aid in improving their work efficiency.

Introduction: Emergency physicians (EP) are expected to be competent in a variety of uncommon but life-saving procedures, including the bougie assisted cricothyrotomy (BAC). Given the rarity and high-stakes nature of the BAC, simulation is often used as the primary learning and training modality. However, mental practice (MP), defined as the “cognitive rehearsal of a skill in the absence of overt physical movement”, has been shown to be as effective as physical practice in several areas, including athletics, music, team-based resuscitation and surgical skill acquisition. MP scripts incorporate cues from different sensory modalities to supplement instructions of how to complete the skill. We sought to explore EPs perspectives on the kinesthetic, visual and cognitive aspects of performing a BAC to inform the development of a MP BAC script. Methods: We undertook a qualitative interview study of EPs at a single tertiary care centre who had done a BAC in clinical practice. Participants were recruited using purposive sampling. The primary method for data collection was in-depth semi-structured qualitative interviews, which were recorded and transcribed verbatim. Data collection and analysis were concurrent; transcripts were coded independently by two researchers using qualitative content analysis on a coding framework based on the previously developed BAC checklist. At each procedural step, the kinesthetic, visual and cognitive cues that enhance MP were identified. Results: Eight EPs (5 staff; 3 Royal College residents) participated in the interviews. All participants had completed at least one BAC in their clinical practice. Data analysis revealed recurrent themes signifying successful completion of each procedural step. These include visual (ie. seeing a spray of blood upon entry into the airway) and kinesthetic (ie. feel of the tracheal rings on a finger) cues that describe aspects of the procedure not found in traditional teaching modalities, such as textbooks. Conclusion: Knowledge gleaned from the interviews of EPs with lived experience gives us a deeper insight into the sensory aspects of performing a BAC in clinical practice. We expect that using these experientially derived cues to inform the development of a MP script will increase its validity and applicability to learners and for skill maintenance. Future work includes evaluating the utility of the developed script in acquiring and maintaining competence performing the BAC.

A Review of: Julien, Heidi and Cameron Hoffman. “Information Literacy Training in Canada’s Public Libraries.” Library Quarterly 78.1 (2008): 19-41. Objective – To examine the role of Canada’s public libraries in information literacy skills training, and to ascertain the perspectives of public library Internet users with regard to their experiences of information literacy. Design – Qualitative research using semi-structured interviews and observations. Setting – Five public libraries in Canada. Subjects – Twenty-eight public library staff members and twenty-five customers. Methods – This study constituted the second phase of a detailed examination of information literacy (IL) training in Canadian public libraries. Five public libraries located throughout Canada were selected for participation. These comprised a large central branch of a public library located in a town with a population of approximately two million, a main branch of a public library in an urban city of about one million people, a public library in a town with a population of about 75,000, a library in a town of 900 people and a public library located in the community center of a Canadian First Nations reserve that housed a population of less than 100 persons. After notifying customers via signage posted in the vicinity of computers and Internet access areas, the researchers observed each patron as they accessed the Internet via library computers. Observations focused on the general physical environment of the Internet access stations, customer activities and use of the Internet, as well as the nature and degree of customer interactions with each other and with staff. Photographs were also taken and observations were recorded via field notes. The former were analyzed via qualitative content analysis while quantitative analysis was applied to the observations. Additionally, each observed participant was interviewed immediately following Internet use. Interview questions focused on a range of issues including the reasons why customers used the Internet in public libraries, customers’ perceptions about their level of information literacy and their feelings with regard to being information literate, the nature of their exposure to IL training, the benefits they derived from such training, and their desire for further training. Public service librarians and other staff were also interviewed in a similar manner. These questions sought to ascertain staff views on the role of the public library with regard to IL training; perceptions of the need for and expected outcomes of such training; as well as the current situation pertinent to the provision of IL skills training in their respective libraries in terms of staff competencies, resource allocation, and the forms of training and evaluation. Interviews were recorded and transcribed. Data were interpreted via qualitative content analysis through the use of NVivo software. Main Results – Men were more frequent users of public library computers than women, outnumbering them by a ratio ranging from 2:1 to 3.4:1. Customers appeared to be mostly under the age of 30 and of diverse ethnicities. The average income of interviewed customers was less than the Canadian average. The site observations revealed that customers were seen using the Internet mainly for the purposes of communication (e.g., e-mail, instant messaging, online dating services). Such use was observed 78 times in four of the libraries. Entertainment accounted for 43 observations in all five sites and comprised activities such as online games, music videos, and movie listings. Twenty-eight observations involved business/financial uses (e.g., online shopping, exploration of investment sites, online banking). The use of search engines (25 observations), news information (23), foreign language and forum websites (21), and word processing were less frequently observed. Notably, there were only 20 observed library-specific uses (e.g., searching online catalogues, online database and library websites). Customers reported that they used the Internet mainly for general web searching and for e-mail. It was also observed that in general the physical environment was not conducive to computer use due to uncomfortable or absent seating and a lack of privacy. Additionally, only two sites had areas specifically designated for IL instruction. Of the 25 respondents, 19 reported at least five years experience with the Internet, 9 of whom cited experience of 10 years or more. Self-reported confidence with the Internet was high: 16 individuals claimed to be very confident, 7 somewhat confident, and only 2 lacking in confidence. There was a weak positive correlation between years of use and individuals’ reported levels of confidence. Customers reported interest in improving computer literacy (e.g., keyboarding ability) and IL skills (ability to use more sources of information). Some expressed a desire “to improve certain personal attitudes” (30), such as patience when conducting Internet searches. When presented with the Association of College and Research Libraries’ definition of IL, 13 (52%) of those interviewed claimed to be information literate, 8 were ambivalent, and 4 admitted to being information illiterate. Those who professed to be information literate had no particular feeling about this state of being, however 10 interviewees admitted feeling positive about being able to use the Internet to retrieve information. Most of those interviewed (15) disagreed that a paucity of IL skills is a deterrent to “accessing online information efficiently and effectively” (30). Eleven reported development of information skills through self teaching, while 8 cited secondary schools or tertiary educational institutions. However, such training was more in terms of computer technology education than IL. Eleven of the participants expressed a desire for additional IL training, 5 of whom indicated a preference for the public library to supply such training. Customers identified face-to-face, rather than online, as the ideal training format. Four interviewees identified time as the main barrier to Internet use and online access. As regards library staff, 22 (78.6%) of those interviewed posited IL training as an important role for public libraries. Many stated that customers had been asking for formal IL sessions with interest in training related to use of the catalogue, databases, and productivity software, as well as searching the web. Two roles were identified in the context of the public librarian as a provider of IL: “library staff as teachers/agents of empowerment and library staff as ‘public parents’” (32). The former was defined as supporting independent, lifelong learning through the provision of IL skills, and the latter encompassing assistance, guidance, problem solving, and filtering of unsuitable content. Staff identified challenges to IL training as societal challenges (e.g., need for customers to be able to evaluate information provided by the media, the public library’s role in reducing the digital divide), institutional (e.g., marketing of IL programs, staff constraints, lack of budget for IL training), infrastructural (e.g., limited space, poor Internet access in library buildings) and pedagogical challenges, such as differing views pertinent to the philosophy of IL, as well as the low levels of IL training to which Canadian students at all levels had been previously exposed. Despite these challenges library staff acknowledged positive outcomes resulting from IL training in terms of customers achieving a higher level of computer literacy, becoming more skillful at searching, and being able to use a variety of information sources. Affective benefits were also apparent such as increased independence and willingness to learn. Library staff also identified life expanding outcomes, such as the use of IL skills to procure employment. In contrast to customer self-perception, library staff expressed that customers’ IL skills were low, and that this resulted in their avoidance of “higher-level online research” and the inability to “determine appropriate information sources” (36). Several librarians highlighted customers’ incapacity to perform simple activities such as opening an email account. Library staff also alluded to customer’s reluctance to ask them for help. Libraries in the study offered a wide range of training. All provided informal, personalized training as needed. Formal IL sessions on searching the catalogue, online searching, and basic computer skills were conducted by the three bigger libraries. A mix of librarians and paraprofessional staff provided the training in these libraries. However, due to a lack of professional staff, the two smaller libraries offered periodic workshops facilitated by regional librarians. All the libraries lacked a defined training budget. Nonetheless, the largest urban library was well-positioned to offer IL training as it had a training coordinator, a training of trainers program, as well as technologically-equipped training spaces. The other libraries in this study provided no training of trainers programs and varied in terms of the adequacy of spaces allocated for the purpose of training. The libraries also varied in terms of the importance placed on the evaluation of IL training. At the largest library evaluation forms were used to improve training initiatives, while at the small town library “evaluations were done anecdotally” (38). Conclusion – While Internet access is available and utilized by a wide cross section of the population, IL skills are being developed informally and not through formal training offered by public libraries. Canadian public libraries need to work to improve information literacy skills by offering and promoting formal IL training programs.

This article looks at the new postgraduate music therapy programme at Massey University in New Zealand, and at how it has developed as this country's first full-time tertiary course in music therapy. Music therapy in New Zealand has a history going back almost 30 years, and the new programme builds on the fine traditions established over that time. The emphasis and challenge have been to craft a programme that weaves the many skills required to become a competent music therapist with the unique flavour of what music therapy is and can become in the ethnically diverse and rich cultures of Aotearoa - New Zealand. Particular attention and discussion are given regarding the issue of supervised clinical training.

While tertiary music programs traditionally focus on developing musicians’ craft, there is an increasing emphasis on the need to develop students’ ability to use their craft in socially engaged ways. This has led to an increase in community music, mobility programs, and performance outreach opportunities being embedded into tertiary music programs. There is also, however, potential for students to develop their craft more explicitly in service of social change through activist-musicianship, but little academic exploration into how this might be embedded into tertiary music programs. This article, through interviews and focus groups, investigates tertiary music students’ perspectives on music’s role in activism, their social values and aspirations, and perceived opportunities and challenges for musicians and tertiary music institutions. Music activism was seen to be possible through focusing on the musician as embodying the message or the music communicating the message, with repertoire choice and the degree of explicit messaging deemed important considerations regarding potential impact. Students highlighted a desire to plant seeds for change, to encourage audience members to become aware of and question unconscious biases and values, and to spark ongoing conversations. Within their programs, students expressed a desire for more autonomy in repertoire selection, for training on the inclusion of extra-musical features to support messaging, and for strong integration and alignment of academic and performance courses that could provide opportunities to practice activist-musicianship as part of their programs. Further to this, there are a range of ethical considerations educators need to be mindful of, which are outlined throughout this article. Insights shared highlight a need for further understanding of the activist-musician and how associated skill sets and opportunities might be embedded within existing tertiary music programs.

This study focused on the best practices of tertiary music teachers in utilizing music notation software as an aid to musically challenged students. The phenomenon refers to those who have the difficulty in music aptitude, rhythmic, tonal audiation, and music theory. With the use of purposive sampling, ten participants provided significant answers to the questions on the best practices in utilizing music notation software through an interview guide and was treated using thematic analysis. This is a single case study and is anchored on cognitive theory of multimedia learning of Richard Mayer where students learn more deeply through sounds, picture, and words. The results confirm that the best practices of the tertiary music teachers in utilizing music notation software even with no formal training, boil down to being efficient and effective by providing alternative means and navigation of its basic features, resourceful by adjusting to the underutilized features of the software to cater the needs of the musically challenged students, and making use of the opportunities brought by music notation software to aid the instruction of musical and non-musical students in the classroom.

This study investigates the careers of 28 classical pianists in Australia to develop greater understanding of skills needed to build professional music careers and to highlight implications for higher music education training. Semi-structured interviews were analyzed for emerging themes using Subotnik and Jarvin’s scholarly productivity or artistry (SP/A) model, looking for connections between distinct skills developed during education and their role in the building of professional careers. Participants in this study began learning to play the piano at an early age and pursued lessons during primary education, developing their technique, learning numerous works, and participating in competitions. In high school, the pianists learned to play other instruments, studied more complex and demanding piano solo repertoire, and participated in extra-curricular music activities. During performance-focused undergraduate study, all concentrated on improving technique, building solo and collaborative repertoire (including contemporary music), and exploring other music-related areas. Postgraduate study overseas and concertizing broadened their understanding of world-class standards. The participants undertook casual music jobs at the start of their careers, but eventually many achieved permanent full-time employment. Hard work, ability to learn quickly, natural gifts/talent, and passion for music helped these pianists build successful portfolio careers. The findings reveal that today’s tertiary music graduates will require diverse music and entrepreneurial skills, and a positive attitude. The implications highlight the need for the development of wide-ranging playing skills beyond solo performance and entrepreneurial competency as important factors for music careers.

Extended lockdowns associated with the COVID-19 pandemic severely ruptured the capacity of performing artists to connect with peers and colleagues in professional and educational contexts. In this study we test a protocol for the use of immersive performance technologies in tertiary institutions to provide developing and early career musicians to connect with pedagogues and access safe, realistic spaces within which to practice performing under varying degrees of pressure. We investigated the affordances of a VR environment to trigger performance anxiety, and the effectiveness of a synchronous digitally mediated environment for tertiary educators to train a key performance psychology skill. Heart rate, self-reported anxiety and confidence measurements were taken over four levels of situational stress and performance demands. Results revealed that the technology enabled a pre-performance routine to be effectively taught online by an instructor to a musician wearing a VR headset. Notably, this was achieved by both participants being in separate locations without detriment to the teacher-student relationship. This study provides encouraging insight into the capacity for immersive technologies to help students effectively manage the stresses of live performance in both virtual and real worlds.

Collaborative composition is an established method within music education, but it is a relatively rare phenomenon between composers of large-scale musical works. This research explores collaborative composition in a professional context and highlights the potential and value of its inclusion in specialist composition training at a tertiary level. The paper explores approaches, processes and outcomes arising from collaborative composition through reflection on a large-ensemble collaborative work, Interpolations, composed by participant-researchers’ Johannes Luebbers and Paul Williamson. The participant-researchers’ background as jazz improvisers emerged as a point of significance and was observed to fundamentally impact the collaborative process. Listening and signifying are identified by Monson as integral to the interactive exchanges between jazz improvisers, which extended into the collaborative composition process. This was given the term ‘Jazz Improvisers Collaborative Cycle’ (JICC), reflecting the tacit skills jazz improvisers bring to a collaborative relationship. The composers were struck by the refreshing and inspiring nature of working collaboratively, the unexpected and complementary ideas and materials, and the value of a constant sounding board that enabled them to formulate, develop and refine ideas. This project suggests collaborative composition as an alternative model that would be valuable for further exploration within education and professional communities.

In contemporary Nigeria, a large number of graduates are turned out from the different tertiary institutions of higher learning every year. The fact is that such graduates while in the school believe that they will be out of school rigour on graduation and will soon start life as soon as they are gainfully employed. But such dreams are in most cases shattered by the non-availability of jobs for such graduates. In the light of this, a good number of people who are graduates from the different higher institutions in Nigeria roam the streets in search of non-existing jobs. This paper deals with speciality areas of music and sculpture, the advantages and benefits inherent in these areas and their roles in generating employment with the major components highlighted. For Nigeria to attain the employment generation level of the post MDGs, there is a need to put in place vocational trainings that would enhance the right input of highly skilled human resources in music and sculpture to feed the labour market for the overall growth and development of the nation.

This article uses a case study of a Melbourne-based youth media project called Youthworx to explore the processes at stake in cultural engagement for marginalised young people. Drawing on ethnographic research conducted between 2008 and 2010, I identify some ways in which the city is implicated in promoting or preventing access to socially valued spaces of creativity and intended social mobility. The ethnographic material presented here has both empirical and theoretical value. It reveals the important relationships between the experience of place, creativity, and social life, demonstrating potentialities and limits of creativity-focused development interventions for marginalised youth. The articulation of these relationships and processes taking place within a particular city setting has theoretical implications. It opens up an opportunity to consider "suburbs" as enacted by specific forms of access, contingencies, and opportunities for a particular demographic, rather than treating "suburbs" as abstract, analytical constructs. Finally, my empirically grounded discussion draws attention to cultural and social consequences that inhabiting certain social worlds and acts of travelling "to and beyond" them have for young people. Youthworx is a community-based youth media initiative employing pathway-based semi-formal creative practices to re-engage young people who have a history of drug or alcohol abuse or juvenile justice, who have been long disconnected from mainstream education, or who are homeless. The focus on media production allows it to tap into, and in fact leverage, popular creativity, tacit knowledge, and familiar media-based activities that young people bring to bear on their media training and work in this context. Underpinned by social and creative industry policy, Youthworx brings together social service agency The Salvation Army (TSA), educational provider Northern Melbourne Institute of TAFE (NMIT), youth community media organisation SYN Media, and researchers at Institute for Social Research, Swinburne University. Its day-to-day operation is run by contractual, part-time media facilitators, social workers (as part of TSA’s in-kind support), as well as media industry experts who provide casual media training. Youthworx is characterised by the diversity of its young demographic. One can differentiate between at least two groups of participants: those who join Youthworx because of the social opportunities, and those who put more value on its skill-development, or vocational creative industries orientation. This social organisation is, however, far from static. Over the two years of research (2008-2010) we observed evolving ideas about the identity of the program, its key social functions, and how they can be best served. This had proceeded with the construction of what the Youthworx staff term "a community of safe belonging" to a more "serious" media work environment, exemplified by the establishment of a social enterprise (Youthworx Productions) in 2010 that offers paid traineeships to the most capable and determined young creators. To accommodate the diversity of literacy levels, needs, and aspirations of its young participants, the project offers a tailored media education program with a mix of diversionary, educational, and commercial objectives. One-on-one media training sessions, accredited courses in Creative Industries (Media), and industry training within Youthworx Productions are provided to help young people develop a range of skills transferable into a variety of personal, social and professional contexts. Its creative studio, where learning occurs, is located in a former jeans factory warehouse in the heart of an industrial area of Melbourne’s northern inner-city suburb of Brunswick. Young people are referred to Youthworx by a range of social agencies, and they travel to Brunswick from across Melbourne. Some participants are known to spend over three hours commuting from outer suburbs such as Frankston or even regional towns such as King Lake. Unlike community-based creative programs reliant on established community structures within local suburbs (for example, ICE in Western Sydney), Youthworx moved into Tinning Street in Brunswick because its industry partner—The Salvation Army—had existing youth service infrastructure there. The program, however, was not tapping into an existing media “community of practice” (Lane and Wenger); it had to forge its own culture of media participation. In the early days of the program, there were necessary material resources and professional expertise (teachers/social workers/a creative venue), but it took a long while, and a high level of dedication, passion, and practical optimism on the part of the project managers and teaching staff, for young people to genuinely engage in media training and production. Now, Youthworx’s creative space is a “practised place” in de Certeau’s sense. As “the street geometrically defined by urban planning is transformed into a space by walkers” (De Certeau 117), so is the Youthworx space produced by practices of media learning and making by professional creative practitioners and young amateur creators (Raffo; for ideas on institutionalised co-creative practice see Spurgeon et al.). The Brunswick location is where our extensive ethnographic research has taken place, including regular participant observation and qualitative interviews with staff and young participants. The ethnographers frequently travelled with young people to other locations within Melbourne, accompanying them on their trips to youth community radio station SYN Media in the CBD, where they produce a weekly radio show, as well as to film shoots and public social events around the city. As an access learning program for marginalised youth from around Melbourne, Youthworx provides an interesting example to explore how the concerns of material and cultural capital, geographic and cultural distance intersect and shape processes of creative participation and social inclusion. I draw on our ethnographic material to illustrate how these metonymic relationships play out in the ways young participants “travel distance” (Dewson et. al.) on the project and across the city, both figuratively and literally. The idea of “distance travelled” is adapted here from evaluation literature (for other relevant references see Dowmunt et al.; Hayes and Edwards; Holdsworth et al.), and builds on the argument made previously (Podkalicka and Staley 5), to encompass both the geographical mobility and cultural transformation that young people are supported to undergo as an intended outcome of their involvement in Youthworx. This paper also takes inspiration from ethnographic approaches that study a productive and transformative relationship between material culture, spatial geography and processes of identity formation (see Miller). What happens to Youthworx young participants as they travel in a trivial, and at first sight perhaps inconsequential, way between the suburbs they live in, the Youthworx Brunswick location and the city is both experientially real and meaningful. “Suburban space” is then a cultural site that simultaneously refers to concrete, literal places as well as “a state of mind”—that is, identification and connections that are generative of a sense of identity and belonging (Ferber et al.). Youthworx is an intermediary point on these young people’s travels, rather than the final destination (Podkalicka and Staley 5). It provides access to various forms of new spatial, social, and creative experiences and modes of expression. Creating opportunities for highly disenfranchised young people to access and develop new social and creative experiences is an important aspect of Youthworx’s developmental agenda, and is played out at both philosophical and practical levels. On the one hand, a strength-based approach to youth work assumes respect for young people’s potential and knowledges—unlike public discourses that deny them agency due to an assumed lack of life experience (e.g., Poletti). In addition to the material provision of "food and shelter" typical of traditional social work, attention is paid the higher levels of the Maslow hierarchy of human needs, with creativity, self-esteem, and social connectedness at the top of the scale (see also Podkalicka and Campbell; Podkalicka and Thomas). Former Manager of The Salvation Army’s Brunswick Youth Services (BYS)—one of Youthworx’s partners—Craig Campbell argues: Things like truth and beauty are a higher order of dreams for these kids. And by truth I don’t mean the simple lies that can be told to get them out of trouble [but] is there a greater truth to life than a grinding existence in the impoverished neighbourhood, is there something like beauty and aesthetics that wakes us up in the morning and calls a larger life out of us? Most of those kids only faintly dream of such a thing, and this dream is rapidly being extinguished under the weight of drugs and alcohol, abusive family systems, savage interaction with law and justice system, and education as a toxic environment and experience. (Campbell) Campbell's articulate reflection captures the way the Youthworx project has been conceived. It is also a pertinent example of the many reflections on experience and practice at Youthworx that were recorded in my fieldwork, which illustrate the way these kinds of social projects can be understood, interpreted and evaluated. The following personal narrative and contextual description introduce some of the important issues at stake. (The names and other personal details of young people have been changed.) Nineteen-year-old Dave is temporarily staying in an inner-city refuge. Normally, however, like most Youthworx participants, he lives in Broadmeadows, a far northern suburb of Melbourne. To get to Brunswick, where he does his accredited media course three days a week, he either catches a train or waits for a mini-bus to drive him there. The early-morning pick-up for about ten young people is organised by the program’s partner—The Salvation Army. At the Youthworx creative studio, located in the heart of Brunswick, right next to railway tracks, young people produce an array of media products: live and pre-recorded radio programs, digital storytelling, mini-documentaries, and original music. Once at Youthworx, they share the local neighbourhood with other artists who have adapted warehouses into art workshops, studios and galleries. The suburb of Brunswick is well-known for its multicultural profile, a combination of industrial and residential estates, high rates of tertiary students due to its proximity to universities, and its place in the recent history of urban gentrification. However, Youthworx participants don’t seek out or engage with the existing, physically proximate creative base, even within the same street. On a couple of occasions, the opposite has been the case: Youthworx students have been involved in acts of vandalism of local residents’ property, including nearby parked cars. Their connections to the Brunswick neighbourhood remain poor, often reflecting their low social capital as a result of unstable residential situations, isolation, and fraught relationships with family. From Brunswick, they often travel to the city on their own, wander around, sit on the steps of Flinders Street train station—an inner-city hub and popular meeting place for locals and tourists alike. Youthworx plays an important role in these young people’s lives, as an important access point to not only creative digital media-based experiences and skill development, but also to greater and basic geographical mobility and experiences within the city. As one of the students commented: They are giving us chances that we wouldn’t usually get. Every day you’re getting to a place, where it’s pretty damn easy to get into; that’s what’s good about it. There are so many places where you have to do so much to get there and half the time, some people don’t even have the bloody bus ticket to get a [job] interview. But [at Youthworx/BYS], they will pick you up and drive you around if you need it. They are friends. It is reportedly a common practice for many young people at Youthworx and BYS to catch a train or a tram (rather than bus) without paying for a ticket. However, to be caught dodging a fare a few times has legal consequences and young people often face court as a result. The program responds by offering its young participants tickets for public transport, ready for pick-up after afternoon activities, or, if possible, "driving them around"—as some young people told me. The program’s social workers revealed that girls are particularly afraid to travel on their own, especially when catching trains to the outer northern suburbs, for fear of being harassed or attacked. These supported travels are as practical and necessary as they are meaningful for young people’s identity formation, and as such are recognised and built into the project’s design, co-ordination and delivery. At the most basic level, The Salvation Army’s social workers pick young people up from the Broadmeadows area in the mornings. Youthworx creative practitioners assist young people to make trips to SYN Media in the city. For most participants, this is either the first or sporadic experience of travelling to the city, something they enjoy very much but are also somewhat daunted by. Additionally, as part of the curriculum, Youthworx staff make a point of taking young people to inner-city movie theatres or public media events. The following vignette from the fieldwork highlights another important connection between physical journey and creative expression. There is an excitement in Dave’s voice when he talks about his favourite pastime: hanging out around the city. “Why would you walk around the streets?” a curious female friend interjects. Dave replies: “No, it’s not the streets, man. It’s just Federation Square, everywhere … There is just all these young wannabe criminals and shit. People don’t know what goes on; and I want to do a doco on the city, a little doco of the people there, because I know a lot of it.” Dave’s interest in exploring the city may be interpreted as a rather common, mundane routine shared by mildly adventurous adolescents of all walks. And yet, there is much more at stake in his account, and for Youthworx young participants more generally. As mentioned before, for many of these young people, it is the first opportunity to travel to the city. This experience then is crucial in a sense of self-exploration and self-discovery. As they overcome their fear of venturing out into the city on their own, they also learn that they have knowledge which others might lack. This moment of realisation is significant and empowering, and they want to communicate this knowledge to others. Youthworx assists them in learning how to translate this knowledge in a creative and constructive way, through an expression that weaves between the free individual and the social voice constructed to enable a dialogue or understanding (Podkalicka; Podkalicka and Campbell; Podkalicka and Thomas; also Soep and Chavez). For an effective communication to occur, a crafted social voice requires skills and a critical awareness of oneself and an audience, which is very different from the modes of expression that these young people might have accessed previously. Youthworx's young participants draw heavily on their life experiences, geographical locations, the suburbs they come from, and places they visit in the city: their cultural productions often reference their homes, music clubs and hang-out venues, inner city streets, Federation Square, and Youthworx’s immediate physical surroundings, with graffiti-covered narrow alleys and railway tracks. The frequent depiction of Youthworx in young people’s creative outputs is often a token of appreciation of the creative, educational and social opportunities it has offered them. Social and professional connections they make there are found to be very valuable. The existing creative industries literature emphasises the importance of social networks to existing communities of interest and practice for human capacity building. Value is argued to lie not only in specific content produced, but in participatory processes that establish a link between personal growth, individual skills and social and professional networks (Hearn and Bridgestock). In a similar vein, Carlo Raffo uses Granovetter’s concept of “weak ties” to suggest that access to “social relations that go beyond the immediate locality and hence their immediate experiences” can provide marginalised young people with “pathways for authentic and informal learning that go beyond the structuring influences of class, gender and ethnicity and into new and emerging economic experiences” (Raffo 11). But higher levels of confidence or social skills are required to make the most of vocational or professional opportunities beyond the supportive context of Youthworx. Connections between Youthworx participants and other creative practitioners within the creative locality of Brunswick have been absent thus far. Transitions into mainstream education and employment have also proven challenging for this group of heavily marginalised youth. As we found during our ongoing fieldwork, even the most talented students find it hard to get into mainstream education courses, or to get or keep jobs. The project serves as a social basis for young people to develop self-agency and determination so they can start engaging with new opportunities and social networks outside the program (Raffo 15). Indeed, the creative practitioners at Youthworx are key facilitators of connections between young people and the external world. They act as positive role models socially, and illustrate what is possible professionally in terms of media excellence and employment (see also Raffo). There are indications that this very supportive, gradual process of social learning is starting to bear fruit for individual students and the Youthworx community as a whole as they grow more confident with themselves, in interactions with others, and the media work they do. Media projects such as Youthworx are examples of what Leadbeater and Wong call “disruptive innovation,” as they provide new ways of learning for those alienated by formal education. The use of digital hands-on media production makes educational processes relevant and engaging for young people. However, as I demonstrate in this paper, there are tangible, material barriers to releasing creativity, or enhancing self-discovery and sociality. There are, as Leadbeater and Wong observe, persistent links between cultural environment, socio-economic status, corresponding attitudes to learning and educational success in the developed world. In the UK, for example, only small percent of those from the lowest socio-economic background go to university (Leadbeater and Wong 10). Youthworx provides an opportunity and motivation for young people to break a cycle of individual self-destructive behaviour (e.g. getting locked up every 6 months), intergenerational reliance on welfare, or entrenched negative attitudes to learning. At the basic level, it encourages and often insists that young people get up in the morning, with social workers often reporting to have to “knock at people’s houses and get them ready.” The involvement in Youthworx is often an important reason to start delineating between day and night, week and weekend. A couple of students commented: I slept a lot. Yeah, I was always sleeping during the day and out at night; I could have still been doing nothing with my life [were it not for Youthworx]. Now people ask if I want to go out during the week, and I just can’t be bothered. I just want to sleep and then go to [Youthworx] and then weekends are when you go out. It also offers a concrete means to begin exploring the city beyond the constraints of their local suburbs. This literal, geographical mobility is interlocked with potential for a changed perception of opportunities, individual transformation and, consequently, social mobility. Dave, as we have seen, is attracted to the idea of exploring the city but also has creative aspirations, and contemplates professional prospects in the creative industries. It is important to note that the participants are resilient in their negotiation between the suburban, Youthworx and inner city worlds they can inhabit. Accessing learning, despite previous negative schooling experiences, is for many of them very important, and reaffirming of life they aspire to. An opportunity to pursue dreams, creative forms of expression, social networks and education is a vital part of human existence. These aspects of social inclusion are recognised in the current articulation of social policy reconceptualised beyond material, economic equality. Creative industry policy, on the other hand, is concerned with fostering creative outputs and skills to generate engagement and employment opportunities in the knowledge-based economies for wide sections of the population. The value is located in human capacity building, involving basic social as well as vocational skills, and links to social networks. The Youthworx project merges these two policy frameworks of the social and creative to test in practice new collaborative approaches to youth development. The spatial and cultural practices of young people described here serve a basis for proposing a theoretical framework that can help understand the term "suburb" in an intrinsically relational, grounded way. The relationships at stake in cultural and social participation for marginalised young people lead me to suggest that the concept of ‘suburb’ takes on two tightly interwoven meanings. The first refers symbolically to a particular locale for popular creativity (Burgess) or even marginal creativity by a group of young people living at the periphery of the social system. The second meaning refers to the interlocked forms of material and cultural capital (and distance), as theorised in Bourdieu’s work (e.g., Bourdieu). It includes physical, spatial conditions and relations, as well as cultural resources and possibilities made available to young participants by the project (e.g., the instituted, supported travel across the city, or the employment of creative practitioners), and interlinked with everyday dispositions, practices, and status of young people (e.g., taste). This empirically-grounded discussion allows to theorise ‘suburbs’ as perceived and socially enacted by concrete, relational forms of access, contingencies, and opportunities for a particular demographic, rather than analytically pre-conceived, designated spaces within an urban system. The ethnographic material reveals that cultural participation for marginalised youth requires an integrated approach, with a parallel focus on material and creative opportunities made available within creative sites such as Youthworx or even the Brunswick creative area. The important material constraints exemplified in this paper concern socio-economic background, cultural disadvantage and geographical isolation and point to the limits of the creative industries-based interventions to address social inclusion if carried out in isolation. They tap into the very basis of risks for this specific demographic of marginalised youth or "youth at risk." The paper suggests that the productive emphasis on the role of media and communication for (youth) development needs to be contextualised and considered along with the actual realities of everyday existence that often limit young people’s educational and vocational prospects (see Bentley et al.; Leadbeater and Wong). On the other hand, an exclusive focus on material support risks cancelling out the possibilities for positive life transitions, such as those triggered by constructive, non-reductionist engagement with “beauty, aesthetics” (Campbell) and creativity. By exploring how participation in Youthworx engenders both the physical mobility between suburbs and the city, and identity transformation, we are able to gain insights into the nature of social exclusion, its meanings for the youth involved and the project managers and staff. Thinking about Youthworx not just as a hub of creative production but as a cultural site—“a space within a practiced place of identity” (De Certeau 117) in the suburb of Brunswick—opens up a discussion that combines the policy language of opportunity and necessity with concrete creative and material possibilities. Social inclusion objectives aimed at positive youth transitions need to be considered in the light of the connection—or disconnection—between the Youthworx Brunswick site itself, young participants’ suburbs, and, by extension, the trajectory between the inner city and other spaces that young people travel through and inhabit. Acknowledgment I would like to thank all the young participants, staff and industry partners involved in the Youthworx project. I also acknowledge the comments of anonymous peer reviewer which helped to strengthen the argument by foregrounding the value of the empirical material. 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