Violence is intertwined with far-right and misogynistic ideologies, shaping discourse on social media and fueling hostile rhetoric. Current hashtags like #YourBodyMyChoice reflect gender-based violence, underscoring the urgent need for critical examination of intersecting forces. These manifest in musical genres amplifying attitudes toward power, control, and gender dynamics. However, so far, they play a minor role in music education discourse (Schwald, 2024). Hence, how can music education address these phenomena while aligning with a human rights-based approach to education?

Previous research in media education has addressed violence (Cantor & Wilson, 2003) and gender (Götz, 2002). Recently, corresponding theoretical approaches have emerged in music education (Dunkel & Schwenk, 2022; Schwald, 2024). However, there are few empirical studies on how music lessons might foster critical thinking about gender-based violence in music.

The presentation focuses on a research project dealing with gender-based violence in music as an example for purposefully addressing volatile futures. This project is framed within Futures Literacy, which involves navigating disorientation and developing a sense of the future we want to shape (Peschl & Fundneider, 2023, p. 22; Schmid, 2024). The presentation will offer a future-oriented perspective on learning by tackling challenging issues.

Drawing from documentary development research (Buchborn, 2022), a lesson design for Secondary School has been developed to address gender-based violence in musical practices. This design is tested in several iterative circles, empirically analyzed and re-designed. The documentary method is employed to explore young people's central orientations towards gender-based violence in musical practices.

Initial results underscore the importance of critically examining personal values when engaging with lyrics and music videos. These findings suggest ways to incorporate this problematic topic, enhancing Futures Literacy. The ultimate goal is to identify ways to encourage young people´s engagement with gender-based violence in music in a future-literate manner within an ecologically valid setting.

This contribution outlines a model for music education, that integrates Biesta’s World Centered Education (2021) and Wallbaum’s Comparative Praxial Music Education (2020). I will generalise the model to a graphic and then illustrate it with vocal practices such as bel canto, shouting and overtone singing.

I consider two aspects of Biesta's theory on World centered Education to be central, which are equally central to the model of music education: the pedagogical focus shifts from the individual to the world and it is about calling the student to attend to the world and to its own attending. Applied to music education, I understand music praxes as ‘the world’.

The core components of the model for music education are (a) about 4-5 collections of musical material from global cultures, (b) time for groups of students to create and experience “fulfilling” music from one of the collections, (c) time for comparing their own creation with other creations (previous own, other known ones and the next own).

A number of presuppositions made in the core components will be discussed. E.g. (a) the praxeological understanding of music material, which includes body movements, doings, sayings, characteristic perceptions and qualities, narratives, instruments, artefacts, rules etc. (Buchborn et al. 2022), (b) the concept of “fulfilling” qualities in music cultures (Seel 2005), (c) procedures of comparison.

The immediate effect on the practice of music lessons is that the pupils' actions in the production phase are both related to the material of the collection and to their own perception. They are not asked to learn predetermined perceptions as ‘correct’, but, nevertheless, they compare their perceptions with others: with those from the collection, and with those of their classmates.

Indirect effects are the learning of compositional and other musical practices as well as the promotion of creativity and cultural reflexivity.

As the educational landscape evolves, music education must adapt to both contemporary musical trends and the critical societal issues shaping our world. This presentation examines two key areas of adaptation in music curricula: Curriculum Development and Policy Advocacy, with a particular focus on addressing the growing concerns around misogynistic content in music. In January 2024, the UK Women and Equalities Committee published its House of Commons report Misogyny in Music, highlighting how women in the music industry face "a lack of support, gender discrimination, and sexual harassment and assault."

The presentation reports data gathered from a study day held in November 2024, where students and practitioners explored how music curricula can be updated to reflect contemporary trends while addressing societal issues like misogyny in music. By integrating critical media literacy, gender-sensitive content, and a broader range of musical genres, educators can create a more inclusive and relevant curriculum. The recent analysis of misogynistic themes in popular music underscores the need for a curriculum that not only promotes creativity but also encourages students to critically engage with the cultural and societal impacts of the music they consume and create. We will discuss strategies to incorporate these elements into music education, ensuring that students are equipped to understand and challenge harmful narratives in music.

The presentation also explores how engaging with policy and advocacy empowers both educators and student-teachers. By learning about evidence-based advocacy and collaborating with community stakeholders, music educators can better advocate for stronger policies that address these issues while securing funding and support for music programs in a socially responsible way.

By addressing both curriculum development and policy advocacy in the context of contemporary challenges such as misogyny in music, this presentation offers a framework for adapting music education to ensure it remains relevant, responsible, and impactful in today’s rapidly changing society.