Art for childhood has still had little space for discussion in music teacher training courses. Therefore, based on the need to provide undergraduate students with a space for musical creation and performance for children, combining classroom experiences with performance experiences, the Bambulha Group: Music for Children was created in 2019. This is an Outreach Project of the Federal University of Minas Gerais, Brazil, which aims to encourage artistic/musical and academic production and creating a space for dialogue on music for childhood production (Broock, et al, 2020). The Bambulha Group develops actions such as: musical performances for children in schools and several spaces and workshops for children and educators. In addition, the project offers the annual course called Children's Music and Cultural Production, which is the focus of this experience report. The course is aimed at undergraduate students in music and other areas and aims to discuss musical production FOR, WITH and OF children, and different conceptions of childhood (Ramos, 2018; Carvalho, 2022). The course has been organized into three parts: (1) theoretical and conceptual discussion about music and childhood (Ilari, 2009; Beineke, 2008; Pereira, 2010; Schafer, 2011); (2) open classes with invited educators and artists; (3) practical experiences including creation of a children's song and a small artistic performance open to the public, considering elements analyzed and discussed during the classes. The experiences lived in this project have constituted necessary laboratory where teaching and artistic practice have been able to coexist in direct contact with children. Students in the course could reflect on issues related to art for childhood, compose songs and create performances for children, expanding their educational practices. Considering the university environment, we perceive how such actions have privileged the relationships between Teaching, Research, and Outreach Actions, having as a guiding thread the theme of art for children.

This research explores the current situation of primary school music education in Wuhan, China, focusing on the perspectives and challenges faced by music teachers. Using a cross-sectional descriptive empirical analysis method, the research involved 423 primary school music teachers from Wuhan. It employed the existing "Questionnaire on the Situation of Music Education in Primary Education in Beijing and Shanghai," which has psychometric properties validated for reliability and validity. The Mann-Whitney U-test (Mann & Whitney, 1947) was used to determine significant differences in teachers' performance across variables such as socio-demographic profiles, habits, and resources available in the classroom. The analysis of questionnaire dimensions revealed that teachers in Wuhan were particularly concerned with categories such as materials and resources, current legislation, evaluation, methodology, the current state of school music, and professional self-perception. Teachers in Beijing and Shanghai also showed high levels of concern for materials and resources as well as current legislation, underscoring these as common focal points across the three regions.

This research is grounded in constructivist and critical pedagogy theories, emphasizing the co-construction of knowledge through teacher-student interaction and focusing on the roles of teachers in the education system, as well as the influence of socio-cultural factors on music education practices. These theories provide an academic perspective and practical guidance for analyzing the challenges faced by Wuhan’s primary school music education.

The insights from Beijing and Shanghai serve as a reference point for identifying systemic challenges in Wuhan. By highlighting key areas of concern, this research aims to raise awareness among Wuhan educators and policymakers, promoting improvements in music education practices. It also lays the foundation for further comparative research on common issues in primary school music education across China.

In recent years, musical improvisation has gained increasing attention in music education discourse (Treß, 2022). As a result, the integration of improvisational formats into teacher training has also been promoted (Biasutti, 2017; Treß et al., 2022; Wright & Kanellopoulos, 2010). However, there is still limited empirical research on the learning and reflection processes that take place in teacher students when engaging with improvisation.

This study investigates music education students' reflections on their attitudes toward vocal improvisation, using situational analysis as the methodological framework (Clarke et al., 2015). The analysis draws on voice memos recorded by participants immediately after improvisation seminars, capturing authentic and spontaneous reflections. The aim of the study is to understand how students perceive improvisation and what factors influence shifts in their attitudes. Through situational analysis, the study also explores how individual reflections and social contexts shape students' perceptions.

The findings indicate a significant change in students' openness and confidence regarding improvisation. A key factor highlighted by participants was the collaborative and supportive environment of the group, which encouraged them to explore creative ideas without embarrassment. Additionally, students were surprised to discover the wide range of forms that improvisation can take, including unconventional sounds, which expanded their understanding of the concept.

This study aligns with the conference theme Empowering Diverse Voices in Music Education by exploring how music teacher students engage with vocal improvisation, fostering creativity and self-expression in an inclusive, collaborative environment. By focusing on student-centered learning, the research emphasizes the transformative impact of improvisation in shaping diverse musical identities and broadening students' understanding of musical practices beyond traditional genres.