Dealing with diversity in the context of migration, gender and inclusion is a central aspect of current transformation processes in the German educational system (Amirpur, 2016, Walgenbach, 2014, Westphal et al., 2018). In this short presentation, we will present the first preliminary results from the ProDiMuk research project (funded by the Federal Ministry for Education and Research of Germany). The project focuses on research into the professionalisation of diversity-sensitive music teaching. Dealing with diversity is a core question of professional action as a challenge of social transformation. In a first sub-study, we investigated the biographical experiences with diversity of teachers who teach in inclusive settings. In this way we try to show how personal ideas of normality, difference and diversity can influence the teaching process. To this end, we conducted 12 episodic interviews (Flick, 1996, 2011a) and analysed them by using reflexive Grounded Theory Methodology (Breuer et al., 2019). In our input, we will focus in particular on the aspects of ableism, basic understandings of diversity and the impact of diversity on teaching practice, which are some key findings of the analysis. The presentation takes these results as a starting point for considerations on how teachers can use their own experiences with diversity productively in inclusive music lessons and possible consequences for music teacher training at universities and conservatoire and would like to discuss this within the symposium.

Inclusion in education has long been a critical aspect of educational reform, seeking to create an environment where all students and educators, regardless of their abilities, can contribute meaningfully. This principle is especially crucial when addressing the inclusion of individuals with disabilities, not just as students but also as professionals. However, the experiences of teachers with disabilities often receive less attention in discussions about inclusive education (Brock, 2007). The complexities they face, such as navigating professional roles within mainstream educational settings, need to be explored to understand how inclusion can be achieved. This narrative delves into the professional journey of a visually impaired music teacher in a general primary school, shedding light on the challenges, obstacles, and strategies that both the teacher and the school community experience on the path toward fostering an inclusive environment. It exemplifies a broader theme within inclusive education: when given the chance and the necessary support, individuals with disabilities can thrive in professional roles, contributing significantly to their fields. Their stories illustrate that inclusion benefits everyone involved — the music educator's professional identity, the colleagues, the pupils, the school staff, and the wider community.

In conclusion, this story underscores the importance of creating inclusive educational spaces where teachers of all abilities can thrive and the barriers between “abled” and “disabled” become less defined. By reshaping one’s professional identity through perseverance, dedication, and a commitment to inclusion, music educators with disabilities, and, in our case, the visually impaired music teacher, not only achieved personal success, but also left an indelible mark on the entire school (Johnson & Johnson, 1984). Their journey serves as a powerful reminder that inclusion is a shared responsibility — one that enriches the educational experience for everyone involved, so the word “we”-when referring to music educators- includes ALL of us (Bowman, 2007).

During the 2000, the interest has grown concerning teaching practices for pupils with intellectual disabilities (ID). Earlier research shows that these practices have had a heavy focus on caretaking rather than learning (RiR 2019, p. 13). International research in music education for pupils with ID is almost non-existent. The research focus concerning this group of pupils has rather been towards music therapy. International research shows that most music teachers are not adequately equipped, and often lack both knowledge and skills to meet their task (Berthén et al., 2022). In the following study, we explore six music teachers' perceptions of teaching music in the Swedish Compulsory Schools for Children with Intellectual Disability (CSID). Semi-structured interviews have been conducted, and analysed with a phenomenographic approach. The results convey two main phenomena: six music teachers' perceptions of making music in CSID (phenomena 1), and six music teachers' perceptions of conducting music teaching in CSID (phenomena 2). These are, in turn, divided into subcategories. Some of the categories are: music as means and/or as an end? There are perceptions of music both as means for e.g. social development, but also perceptions of music as an end in itself. Other perceptions that are explored are conceptions about making music as a collective endeavour, albeit with support to varying degrees. The importance of different kinds of support systems is also emphasised in the teachers' perceptions, which will be discussed in the symposium.

Lastly, a starting point regarding ensemble playing as based on learning and performing specific music pieces, and/or based in musicking (Small, 1999), is a perception found among music teachers. During the symposium, I would like to discuss how teachers' perceptions of ensemble playing and learning music affects inclusion.

"Individual access to music education is an issue of social justice, a right that should be granted to all students" (del Barrio et al., 2024). This goal (SDG 4, Unesco 2023) could be successfully achieved in schools where heterogeneous groups of students are given the opportunity to share musical experiences, learning from and with each other. However, for this to be accomplished, it is crucial for teachers to be aware of the diverse abilities, possibilities, interests in music, access to music education outside the school, and contextual individualities that students bring with them. Teachers, thus, need to embrace these differences as a way of broadening the musical and cultural spectrum presented in the classroom.

In this regard, an issue arises concerning the efficacy of the pre-service training which teachers receive in developing inclusive attitudes and positive beliefs towards inclusive settings. Moreover, it is uncertain how these beliefs and attitudes evolve in relation to the context in which teachers will subsequently develop their careers. Teachers' beliefs and attitudes towards diversity and inclusion are crucial in the journey towards a more inclusive school (Echeita, 2013). However, the culture, politics and practices (Ainscow, Booth & Dyson, 2006) regarding inclusion in each educational institution also play a significant role in shaping teachers' views on diversity and their ability to adapt to heterogeneous groups.

Through biographical interviews with four music teachers in Spain, who are teaching in different educational settings, this contribution highlights the ways in which teachers' attitudes and beliefs about diversity and their adaptation to heterogeneous learning environments are related to the training they have received and the place where they develop their teaching careers. Through their experiences, this presentation aims to contextualize the individual experience of these teachers within their practice-oriented environment.

More and more classes at secondary schools in Germany work with digital applications on tablets and/or iPads in music lessons (Niediek & Gerland, 2022). With regard to heterogeneous student groups, the question arises as to whether the use of digital media promotes the participation of everyone in music lessons. In the frame of the music educational research project ComeArts Net Music funded by the Federal Ministry for Education and Research of Germany, advanced music teacher training has been conducted with music teachers of different school types. Afterwards, group discussions took place with these teachers and were analysed with the documentary method as a reconstructive approach (Bohnsack, 2021; Nohl, 2013) according to the following question: How do music teachers, working at schools with and without special needs, construct inclusivity by using digital media in music classrooms?

Preliminary results show differing orientations among teachers of students with special needs as reconstructions of the “inclusive” and “exclusive” took place along the aspect of “accessibility” on two dimensions: On the one hand, the iPad is constructed as a physical medium, representing the 'digital' that allows learners to access internet/youtube to listen to music. Thus, it facilitates students with physical and learning impairments to participate in the music learning process, e.g. in music making in groups. This also points to differences in the concepts of both musical instruments and of making music. On the other hand, the use of digital media in classrooms reveals exclusionary aspects of (elder) teachers, thus stressing the "exclusive" side of the 'digital'. The question of how to deal with these findings for the music teachers will be discussed in the symposium.