Based on the experience of almost ten years developing and implementing the first voice program specifically to educate hybrid singers specialized in Latin-American vocal styles in a four-year program at the XXX University, this proposal explores the possibilities and advantages to structure a program based on a variety of vocal styles.

The methodology applied in cross-training pedagogy is based on the following principles: a) teaching two or more styles during the lesson; b) functional training (focus on building the instrument); c) interleaved and spaced practices, with variable repertoire and/or styles (such as bossa nova on Mondays and tango on Tuesdays), without focusing primarily in repetition; d) goal towards achieving a good level in different styles, not optimal level in one style; e) vocal music appreciation of Latin-American styles (knowledge of the possibilities of this repertoire); f) focus on peer-to-peer learning, where students from different backgrounds and experience can exchange musical insights; g) foment professional preparedness and independence (to create a band, buy a microphone, know song forms and decide about keys).

In a four-year voice program, there is almost never enough time to prepare a full-fledged artist, so maybe this time could be used to multiply the student’s options and technical abilities and avoid poor musicality and lack of muscular flexibility and functionality. The results, based on the profile of students who graduated, point to an increase in artistic and aesthetic boundaries, strength, coordination and endurance as well as an expansion in vocal flexibility and stylistic independence. Also, there is a perceived growth in employability, since the music business look for singers who can perform in more than one genre, and have adaptable skills, varied repertoire, entrepreneurship, individual expression, creativity and like to collaborate with peers.

In the context of special needs education, a creative music listening tasks with a digital tool (MusicEyes) has been proposed to help students to express their emotions and to collaborate. Students are invited to transform forms and colors of a graphic score (video) provided by the tool according to their listening experience. The goal for the students is to develop transversal skills like communication, collaboration and creativity.

To foster students’ verbal expression in a creative and collaborative listening task, teachers need specific techniques to elicit musical knowledge (Chatelain et al., 2019; Zandén, 2018) and to guide classroom talk. Moreover, a secure environment is necessary to give students a feeling of confidence and a safe space for self-expression which is even mor important for vulnerable students. Specific creative scaffolding gestures can help students to develop creative ideas collaboratively (Giglio, 2015).

Our question is: Which creative scaffolding gestures are used by the teachers in a creative music listing tasks in special needs education to foster students’ verbal expression?

The task has been realized during several lessons by three groups of 3 to 8 students aged from 7 to 14 and their classroom teachers in three different institutions in Switzerland.The verbal interactions in the classroom and the interviews with the three teachers involved are transcribed. As a result of a qualitative analysis of the verbatim, different scaffolding gestures are identified.

First results show that teachers give students clear rules and guide the momement of explanation in a very tight way. With the help of the tool, specific moments of the music are pointed out that students can comment on. The task design, supported by the tool's affordance and the teaching gestures encourages vulnerable students to express their listening experience. We discuss these results by comparing them to those previously observed in ordinary classes.

This presentation delves into ongoing debates surrounding gender-neutral education and explores the unique challenges associated with male participation in choirs, spotlighting the Drakensberg Boys Choir's distinctive approach to holistic education. Unlike most boys’ choirs, the Drakensberg Boys Choir is embedded within a boarding school setting, using choral music as a central pillar in fostering the development of well-rounded individuals.

A longitudinal study conducted across 2015, 2018, and 2023 employed semi-structured questionnaires to capture choir members' perceptions of their experiences. The findings underscore the diverse range of skills—musical, social, and behavioural—that boys acquire through choir membership. These results reveal that boys’ choirs transcend mere entertainment; they serve as cultural institutions that nurture boys into socially adept and well-educated young men. This affirms the intrinsic educational and cultural value of boys’ choirs, extending far beyond their musical or traditional roles.

The study also highlights the need for boys' choirs to adapt to remain socially and educationally relevant. It urges leaders in administration and the arts to adopt innovative strategies and form interdisciplinary partnerships, leveraging multimedia tools to reframe boys’ choirs as dynamic contributors to modern music education rather than static vestiges of tradition.

Additionally, the presentation addresses the pressures placed on single-gender education by the increasing push for gender-neutral policies that prioritize inclusivity and embrace the full spectrum of gender identities. Balancing the rich traditions of boys’ choirs with the imperative to create equitable spaces presents a significant challenge for schools. Effective solutions must reconcile these traditions with the broader goal of supporting all students, regardless of gender.

Drawing on field research, online studies, and a comprehensive literature review, this work provides a pedagogical framework aimed at ensuring the continued relevance, credibility, and vitality of boys’ choirs in a rapidly evolving educational landscape.