Music instrument teaching in higher education is mainly centred around the one-on-one interaction in the teacher-student dyad. However, today's professional performances and teaching practices require the ability to work in a variety of collaborative environments with a wide range of competences and skills.

This practice paper explores the innovative application of collaborative pedagogy within higher education through the interdisciplinary performance of Igor Stravinsky's The Rite of Spring for piano four hands. Six students in the 2nd year of the Master's degree in piano, who jointly attend the piano didactics course, have registered with the performance for the Epta Piano Days on 15 November 2024. We started the project in March 2024 with discussions and reflections on The Rite of Spring in relation to students' experiences and feelings. The strongest feelings expressed were being trapped in rules, fear and not being able to express themselves freely through performing. In view of this, we gradually integrated piano performance with images, spoken words, poetry, and movement and have subtitled the performance The Artist's Ritual - A Journey of Transformation. Engaging students in a rich dialogue between various art forms enhanced their understanding of narrative, emotional expression, and cultural context inherent in Stravinsky's seminal work.

Through reflection on the creative process, the paper discusses the dynamics of teamwork, communication, and shared artistic vision among the performers. Additionally, it highlights the pedagogical implications of such collaborative practices in nurturing critical thinking, interpersonal skills, and innovative problem-solving in academic setting. By placing the performance in a broader educational context, this project highlights the potential of collaborative pedagogy to enrich the learning experience in the arts and to promote a holistic appreciation of interdisciplinary art forms in higher education.

Training across the Orff Schulwerk community in the US has long emphasized the term “process” in levels courses – the term seemingly appearing more commonly than any other in teaching strategy rationales and broad philosophies. This study focuses on practicing elementary teachers enrolled in an Orff-Schulwerk training course, and undergraduate music majors completing a required elementary methods course in a large US university. The purpose was to explore the degree to which perceptions of the frequently used term “process” may differ among these two populations.

Participants (n=34) provided open, written descriptions regarding the term; responses were examined for internal (teacher-centered) and external (student-centered) focus, as well as terminology typically associated with Orff-oriented classrooms (imitation, improvisation, instrumentation, movement, etc.). Example responses among in-service teachers enrolled in the concurrent levels training included “providing a framework to create,” and “having an end goal in mind.” They described classrooms with “steps to follow,” suggesting those teachers in the training course were more internally focused on developing personal strategies. Category analyses suggest training course participants were 88% internally (self) focused, while undergraduates were internally focused on 63% of responses. Those undergraduate respondents enrolled in methods courses commonly cited play, discovery, and imitation in their interpretive descriptions.

Varying interpretations of “methodology” versus “a process” have been widely described and may have been assumed to be broadly understood or agreed upon. Gilpatrick (2009) cites a strong processes influence on teaching beyond simpleimitation, and historically it has been suggested that improvisation and extended discussion play a large part in process within the earliest Orff environments (Gray, 2006). Carl Orff is often broadly referred to as having suggested that the musical learning of a child does not begin in a music class instruction, but rather during play.

Relationships to training, experience, and professional expectations will be considered and discussed.

In Portugal, legal and curricular documents aim to implement the arts, particularly Expression and Music Education (EME), in elementary schools, with generalist teachers being responsible for teaching these subjects. However, inconsistencies regarding the role of music at this educational level can be observed, along with challenges in its implementation. These challenges include a lack of time for music instruction, insufficient material resources, difficulties in collaboration between generalist and specialist teachers, and inconsistencies in teacher training. Many generalist teachers report feeling unprepared and insecure when it comes to conducting musical activities. These issues may hinder the adoption of inclusive and equitable practices within the educational system. Based on these findings, the aim of this study a) to analyze the challenges faced in implementing EME in Portuguese elementary schools; b) to investigate elementary school teachers' perceptions and practices regarding music education; and c) to propose ways to improve pedagogical practices and enhance the quality and equity of music education at the elementary level. To achieve these objectives, a multiple case study will be conducted. Data will be collected through documentary analysis of the participating schools' educational plans, participant observation, and semi-structured interviews with principals, coordinators, and teachers. The data will be analyzed and categorized using content analysis. It is expected to understand the current situation of music education in elementary schools and contribute to the development of proposals aimed at improving music teaching practices.