This presentation is based on the autoethnographic approach to research and writing, which seeks to describe and systematically analyze personal experience in order to understand cultural experience (Ellis et al., 2011). Autoethnography is a useful way to reveal hidden narratives, struggles, and resilience of early-career music educators (Adams, Ellis, Jones, 2017; Bohner, Ellis, 1992). Through self-reflection and personal narrative, young music teachers can articulate experiences that often remain unspoken within traditional educational research frameworks (Hayler, 2012; Pinner, 2016). This approach allows for a deeper understanding of the cultural and institutional challenges they face.

As a teacher-researcher reflecting on my own teaching experience, I discuss the challenges I encountered as a music teacher at the beginning of my career. The biggest challenges involved adapting to school norms, meeting administrative expectations, managing the balance between creative autonomy and curricular demands, as well the problematic nature of applying my own educational beliefs in practice. During my first five years, I continually reflected on my pedagogical practice, taking notes on my computer, writing down my experiences, as well as thoughts and feelings about teaching. These notes became the foundation of this study.

By revealing my story and insights, this presentation aims to shed light on how autoethnography not only serves as a method of inquiry but also as a tool for empowerment, enabling young teachers to voice their experiences, shape their professional identities, and foster personal growth (Dyson, 2007; Barley, Southcott, 2019). Attendees will gain an understanding of how autoethnographic methods can be applied in educational research to address the needs of novice educators, and contribute to creating a more supportive, empathetic, and responsive environment within music education.

EMP (Elementare Musikpädagogik/Elemental Music Pedagogy) can be defined as a movement-oriented variant of music education that uses the expressive media of dance, music, singing and language in their variety. EMP lessons in the conception of Carl Orff pursue creative activities as a guiding principle. One quality of EMP is undoubtedly its multifaceted approach to content, which emphasises exploration, improvisation and composition and promotes a multimodal engagement with the chosen material (cf. Kalcher, 2017, p. 209).

The guiding question of the present study is whether children differ in terms of performance depending on whether or not they have had prior EMP interventions or musical experience: Are there statistically significant effects of EMP interventions, prior knowledge, motivation and cognitive skills on the internalisation of Elemental musical skills (EMS) of primary school children?

Data from 8- to 12 year- old pupils (N = 624) taken from 9 elementary schools in 38 classes were examined. The developed EMS-Test is based on Dartsch's “EMP learning domains” (cf. 2010, p. 248f). The items were adapted for the age group and examined in a group context, typical for EMP. A balance between performative (technical, reproductive) and inventive (creative, transfer from one art form to another) activities were also considered.

The analyses were estimated using path analysis, structural equation modelling and multilevel modelling. Significant positive correlations were found between EMP interventions and Elemental musical skills. The most important learning modulating variables for Elemental musical skills are the motivation, prior knowledge and cognitive abilities of the students as well as the EMP teaching principles of the classroom teachers. In addition, theoretical, methodological and practical implications are discussed.

References

Kalcher, A. M. (2017). Musikalisch-tänzerische Gestaltungsprozesse als kooperativer Akt. In S. Karoß & S. Schroedter (Eds.), Klänge in Bewegung. Spurensuchen in Choreografie und Performance (pp. 203-212). Bielefeld: transcript.

This research aims to explore the concept of music education among non-musician students enrolled in a Master’s Degree program in Primary Teacher Education at an Italian university. As highlighted in music education literature, it is essential to reflect on the social representations of music (Addessi, Carugati, & Selleri, 2007), as these can influence teachers' professional identities and the teaching-learning relationship in the classroom. To explore this issue, a qualitative research was conducted as a case study involving 50 students. Data were collected through two questionnaires and analyzed thematically. The questionnaires were completed by the students at different times: one before and another after three lessons of a Music Education workshop. The workshop lasted a total of 12 hours and was conducted by a specialized music teacher using various approaches, including Music Learning Theory (MLT) by E. E. Gordon, Orff-Schulwerk, and Dalcroze-inspired activities. The findings indicate a shifting perspective on music education. The high levels of enjoyment and interest in the workshop demonstrate that engaging with music adds significant value to the development of a new concept of music education—one that is not solely focused on teaching notation and singing, but also emphasizes the importance of embodying music, expressing emotions through music, and incorporating movement in relation to music.