Conference Agenda
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Doctoral Student Fórum Poster Exhibition
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DOCTORAL STUDENT FORUM POSTERS‘Cultural diversity’ in music teacher training in Austria. Reconstruction of ‚cultur-al diversity‘ in curricula and students perspective. Rosemarie Demelmair, Universität Mozarteum Salzburg (Austria) This ongoing research as part of a doctoral programme focuses on understanding the role of ‚cultural diversity‘ in music teacher training in Austria. By researching this field, I am investigating a site of the powerful construction of knowledge and skills while focusing on pre-service music teacher study programmes. I argue that ‘cultural diver-sity’, as we reproduce it, is embedded in power structures.
Various pedagogical concepts of recent years and decades aim to deepen our capaci-ties for dealing with phenomena of ‘diversity’ in music education, such as Multicul-tural Music Education (Elliot, 1990) World Music Education (Campbell, 2016), Inter-cultural Music Pedagogy (Ott, 2011; Barth & Stroh, 2021) or Culturally Responsive Teaching (Lind & McKoy 2016). Critical perspectives, however, ask what consequenc-es are associated with addressing ‘cultural diversity‘ (Buchborn et al., 2021; Blanchard 2019). Following the “reflexive diversity research programme“ (Bührmann, 2021), I under-stand “diversity not as [a] given, but [rather] as an effect of diverse practices.“ There-fore, I focus on the effects of practices that produce ‘cultural diversity‘, including practices of normalisation or arrangements of differences. The study draws on quali-tative data, including study programme curricula and problem-centered interviews (Lamnek, 2005) with students in different semesters. Through „interpretative-reconstructive discourse analysis and grounded theory methodology“ (Gasteiger & Schneider, 2014), this study aims to uncover practices in music teacher training that shape our knowledge of ‘cultural diversity‘. Empirical music education research on ‘cultural diversity’ in German-speaking coun-tries has so far focused on pupils (Honnens, 2017; Völker, 2023), teachers (Bubinger, 2021; Tralle, 2024) and music teaching itself (Blanchard, 2019). The research desidera-tum of focusing particularly on the area of teacher training (Clausen, 2020) has not yet been addressed. The aim of the current research is to contribute to the utilisation of empirical data from this field and to critically expand reflexive positions on ‘diversity’ in music education. Teaching and learning of intonation in string instrumental education: an overview of mobile apps Géssica dos Santos Sant’Ana, Universidade do Aveiro (Portugal) The use of smartphones and their apps have become an integral part of our daily life. Such mobile apps are utilised for a large array of daily activities and possess consid-erable potential as educational instruments. In the field of music education, there have already been efforts made to integrate the use of mobile apps within the class-room. Nevertheless, there is a notable absence of studies and instructional strategies that integrate this technology into individual instrument lessons. This deficit is par-ticularly evident in the domain of teaching intonation for string instruments. There-fore, the aim of this project is to identify and analyse mobile apps that are currently available for teaching and learning intonation in the apps market. The intent is to ana-lyse the potential of these applications to be utilised by both educators during the lessons and by students during their practice sessions. To achieve this objective, a comprehensive mapping of applications, available for both iOS and Android Operat-ing Systems, related to intonation was conducted. Subsequently, their content was analysed to assess their potential effectiveness as pedagogical tools for teaching and learning intonation. After the initial apps’ mapping several exclusion criteria were ap-plied to attain a total of 1008 apps, of which only 96 were available on both iOS and Android. These apps were then categorized into four main groups: tuners, audio re-corders, audio editors, and ear training apps. A preliminary analysis indicated that several apps might be suitable for educational use. However, educators bear the re-sponsibility of designing pedagogical strategies that effectively integrate these apps and their functionalities into the learning process. Appropriation of Music Video Tutorials from a Student’s Perspective Friederike Horn, Hochschule für Musik Carl Maria von Weber (Germany) friederike.horn@mailbox.hfmdd.de The reception of audio-visual formats, like video tutorials, by German students in-creased during the last years both in an informal and formal context of learning (e.g., mpfs 2018, p. 49; mpfs 2024, p. 60). It can be assumed that music video tutorials are also used in music education, for example to demonstrate dance choreographies oder body percussions. This research project aims to investigate how students ap-propriate the content of music video tutorials chosen by music teachers in the con-text of distance learning. There are several studies focussing on the quality of videos in the field of educational science that have been published in recent years (e.g., Findeisen et al. 2019; Siegel & Hensch 2021). In the field of music education there are research desiderata focussing on the processes of students’ appropriation with ref-erence to content of music video tutorials. On the one hand this study will provide an empirical reconstruction of appropriation processes by analyzing video recordings. On the other hand this research will gain access to so-called conjunctive knowledge in order to reconstruct habitual orientations which are linked to conjunctive knowledge (see also Bohnsack 2011). This approach is based on the premise that appropriation occurs when there are congruences between the students’ habitus and the tutorial producers’ habitus (Bohnsack & Geimer 2016). So the research ques-tion is specified: What is the students’ and producers’ conjunctive knowledge? Therefore the Documentary Method (e.g., Bohnsack 2011) within its theoretical framework of Karl Mannheim’s Sociology of Knowledge will be used. In order to re-construct the students’ habitus there will be group discussions combined with par-ticipant observation. In addition this study will provide an analysis of the video tutori-al data for reconstructing the producers’ habitus which is documented in this arti-fact. Both reconstructions will be related to each other for analyzing incongruences or congruences between both.
References Bohnsack, Ralf (2011): Qualitative Bild- und Videointerpretation. Die dokumentarische Methode. UTB Erziehungs- und Sozialwissenschaft 8407. 2nd edition. Opladen, Farmington Hills: Verlag Barbara Budrich. https://d-nb.info/1013079272/04. Bohnsack, Ralf, and Geimer, Alexander (2016): Der Film als Gegenstand von Produkt- und Rezepti-onsanalyse und die Potentiale der Aneignung und Bildung. In: Verständig, Dan; Holze, Jens, and Biermann, Rolf (Eds.): Von der Bildung zur Medienbildung. Festschrift für Winfried Marotzki. Medien-bildung und Gesellschaft 31, Wiesbaden: Springer VS, 61-88. Findeisen, Stefanie; Horn, Sebastian, and Seifried, Jürgen (2019): Lernen durch Videos – Empirische Befunde zur Gestaltung von Erklärvideos. In: MedienPädagogik: Zeitschrift für Theorie und Praxis der Medienbildung, 16–36. DOI: 10.21240/mpaed/00/2019.10.01.X. mpfs – Medienpädagogischer Forschungsverbund Südwest: JIM-Studie 2018. https://mpfs.de/app/uploads/2024/11/JIM2018_Gesamt.pdf (Retrieved February 2, 2025). mpfs – Medienpädagogischer Forschungsverbund Südwest: JIM-Studie 2024. https://mpfs.de/app/uploads/2024/11/JIM_2024_PDF_barrierearm.pdf (Retrieved February 10, 2025). Siegel, Stefan T., and Hensch, Ines (2021): Qualitätskriterien für Lehrvideos aus interdisziplinärer Per-spektive: Ein systematisches Review. In: Matthes, Eva; Siegel, Stefan T., and Heiland, Thomas (Eds.): Lehrvideos - das Bildungsmedium der Zukunft? Erziehungswissenschaftliche und fachdidaktische Perspektiven. Bad Heilbrunn: Verlag Julius Klinkhardt, 254–266. Creativity in Choral Pedagogy Amber Deckers, LUCA School of Music / KU Leuven (Belgium) Traditionally, choral pedagogy has focused on performing notated music (Freer, 2011), emphasizing, for instance, technical precision and ensemble cohesion, amongst others. However, according to previous research (e.g. Hickey & Webster, 2001), includ-ing creativity in music education has the potential to enhance the musical develop-ment and personal expression of musicians. Creativity is a multifaceted concept. It is a form of divergent thinking and musical imagination (Webster, 1990) and in group, it is a socially embedded practice, emerging from collaborative and cultural interac-tions (Sawyer, 2007). My current research (started 6 February, 2025) wants to explore how creative approaches, considered in their full potential as educational practices, can be naturally integrated into amateur choir rehearsals, without disrupting the pre-vailing rehearsal cultures.
Conducted as a practitioner study, the research will follow a three-phase structure. The first phase consists of a literature review, analyzing existing choral pedagogical approaches and identifying potentially interesting examples of incorporating creativi-ty, followed by an ethnographic research. The second phase involves practical inter-ventions based on these creative approaches in selected amateur choir settings. I am a music educator with strong vocal affinity and experience with participatory and cre-ative approaches. In this phase, I will investigate how to facilitate creativity as a choir leader. Finally, the third phase focuses on analyzing the collected data and drawing conclusions. By bridging the gap between traditions in choral practice and current innovations in music education, this research advocates for creativity as an enriching dimension in choral pedagogy, not as an isolated practice but as an integrated component of mu-sical learning in amateur choirs. The study aims to provide choir leaders and music educators with practical guidelines and tools for integrating creativity into their re-hearsal process and fostering a true learning environment that encourages creativity. Constructing Informal Music Learning Classroom: Teachers’ Experiences and Perspectives in Elementary Schools in Beijing, China Jingzhi Hu, University of Bristol (United Kingdom) A qualitative research methodology was used which focused on 2 music teachers from 2 primary schools in Beijing. In group meetings, the teachers were introduced to the theory and some practices related to informal learning in music. Then, within the context, policies and school requirements of music education in China, they de-signed projects that revolved around informal learning approaches; these were inves-tigated. The case study data consisted of semi-structured individual interviews, notes from group meetings with the two teachers, classroom observation field notes and teachers' reflective journals. Cindy Huszarik, Leuphana University Lüneburg (Germany) The German music education system still prioritizes an understanding of Eurocentric art music as well as the practical experience of music. But although these are im-portant aspects of the curriculum, facets of popular music beyond genres and music theory are insufficiently covered in school, considering the importance of popular music in students’ lives. This research project suggests that especially students’ the-oretical understanding of popular music and the self- and peer-guided reflection of its influence on society are relevant and valuable for students by including their musi-cal interests, contemporary music and thought-provoking discussions in the music classroom. To establish these aspects in music classrooms, maintainable and easily implementable peer-focused materials need to be developed for and provided to mu-sic teachers.
Addressing the demand for teaching resources, this research project focuses on de-veloping, implementing and evaluating a unit on popular music theories for grades ten (approx. ages 14 to 16), using Design-Based Research (DBR) in three cycles of op-timization. The included topics are based on a pre-study that inquired suggestions of scholars of popular music and cultural studies and asked music teachers from across Germany to assess them. The unit will be designed as a flexible, modular sys-tem that allows teachers to adapt the lessons to meet the interests and needs of their students. Ultimately, the research project fosters student-centered learning in the form of inclusive peer-teaching and -learning to encourage students to explore their diverse identities and discuss personal interests and their influences based on popular music in class. The developed peer-centered lessons aim to foster students' critical reflection on the music they consume through various media. Ultimately, the effectiveness of this project will be examined throughout the DBR process, by as-sessing the application of the learning outcomes using qualitative research methods. Social Justice and Self-Efficacy in Music Teacher Training Studies at Austrian and American Universities: Attitudes, Beliefs, and Experiences of Pre-service Music Education Students Katja Kleyensteuber, Universität Mozarteum Innsbruck In this project I will investigate the questions; “How are pre-service music education students exposed to social justice in their music education studies at Austrian uni-versities?” and “How, if at all, does this exposure to social justice during pre-service music education studies impact students’ development of pedagogical beliefs?” So-cial justice, critical pedagogy, culturally responsive teaching, and citizenship have become more prominent research topics in music education over the past few dec-ades. While many researchers (Abrahams, Benedict, Bradley, Campbell, Elliott, Hess, etc.) have brought new ideas and significance to these subjects in music education, the literature and research surrounding social justice in music teacher training and how exposure to social justice pedagogy can impact the development of pre-service music education students’ pedagogical beliefs, and future practices as active music teachers, should be expanded. A researcher developed Social Justice Pedagogy for music education based on four pillars (anti-bias education, critical pedagogy, cultur-ally responsive music teaching, artistic citizenship) will be used as a theoretical framework. In order to enhance findings, a mixed methods approach will be utilized in which interview and survey data will be collected and analyzed using grounded theory (Glaser & Strauss, 1967). The data will be gathered through surveys and select follow-up interviews with pre-service music education students at Austrian universities. With less than ten university music education departments in Austria, I will be able to reach out to each of them with the goal of collecting data from pre-service music ed-ucation students in at least one university in each teaching cluster. Existing research and data on the Austrian population, university demographics, and music teacher training in Austria will also be consulted. Surveys and interviews will be analyzed in order to categorize responses, identify recurring themes, and organize findings - hopefully supporting new ideas regarding social justice and music teacher training.
LISTENING TO CREATE, CREATING TO EXIST – Listening as an Educational Para-digm Ana Raquel Martins, Institute of Education, University of Lisbon (Portugal) Listening is more than hearing; it is an act of presence, a way of being with the world. This research explores sound as a living material that shapes how we learn and how we exist together in schools. It asks: How can sound be a central element in creating educational environments that nurture artistic and pedagogical coexistence? Listen-ing is not just a skill — it is a method, an object of study, and an ethical stance that invites us to rethink education beyond words and walls.
This study is grounded in the works of R. Murray Schafer, Pauline Oliveros, and Loris Malaguzzi, drawing from concepts of soundscapes, deep listening, and the pedagogy of listening. Christopher Small’s notion of "musicking" reminds us that sound is rela-tional, always in the making, while Patricia Shehan Campbell’s studies reveal how children engage with sound as a way of knowing. Brandon LaBelle’s work on acoustic territories illuminates how sound structures space and social interaction in ways we often overlook. Using a qualitative, participatory approach, this research works directly with children, educators, and communities to co-create sound-based learning environments. Through workshops, sound mapping, and the design of sonotopias—shared sonic spaces of exploration—the study documents how listening transforms relationships, perception, and belonging. Field recordings, participant reflections, and ethnograph-ic notes provide a layered understanding of sound’s role in learning. In a time of constant noise, listening is a form of resistance. This study seeks to return listening to the heart of education, not as background but as foundation—an open-ing for attention, dialogue, and the reinvention of school spaces through sound. Keywords: sound education, active listening, sound mapping, sonotopia, sensory learning, artistic interdisciplinarity. Doing emotions in music classes Christoph Marty, Universität für Musik und Darstellende Kunst Wien (Austria) Emotions play a significant role in music classes: As a component of aesthetic expe-rience, they are crucial to learning (Nieminen et al., 2012). Yet, fleeting and volatile in character, they are difficult to grasp and to integrate in didactical settings reliably. But although they constantly change (Plamper, 2015), they are linked to the realities they happen in: Every cultural context comes with its own array of feeling (Flam, 2014). As this includes music classes, too, I examine the following question in my dissertation project:
What possibilities and limits to feel do music classes offer their participants? To study feeling in a specific part of everyday life, I follow Langbein’s (2020) suggestion to conceive emotions as a practice (Scheer, 2012). This contradicts intuition, which im-plies that an emotion is something people have, express or get affected by, not some-thing they do. However, this common treating of emotions as authentic and personal (Hochschild, 1990) can be seen as just one of many possible ways to do emotions. Understanding emotions as practice allows me to focus on the specific feeling possi-bilities that only the cultural context of music classes offers. In music education, this theoretical perspective has informed philosophical thoughts about didactics (Raptis, 2023) as well as an empirical study in choir rehearsals (Rizzi, 2023). To answer the above research question, I follow an ethnographic research strategy (Breidenstein et al., 2020), doing participant observation in upper secondary schools in German speaking Switzerland and interviewing both the teachers and groups of students of the observed classes. After three field stays, I assume that music classes follow different feeling rules depending on the primary educative activity: overt emo-tions are possible while doing music and discreet ones while doing everything else (see Blanchard, 2019). Increasing the visibility and audibility of female composers and their works - The inte-gration of gender-reflective topics in music teaching materials Monika Rak, Universität für Musik und Darstellende Kunst Wien (Austria)
rak@mdw.ac.at In my early-stage dissertation project, I examine the visibility and audibility of female composers and their works in music teaching materials. a) My research question is: What qualities and criteria must teaching materials fulfill to support educators in making female composers and their works more audible and visible within the framework of reflexive gender pedagogy? b) Preliminary research includes textbook analyses as well as surveys of both preserv-ice an in-service teachers engaged in seminars on teaching female composers. Sever-al expert interviews have also been conducted, and a comprehensive literature review has integrated insights from disciplines such as musicology, music analysis, music education, and gender studies - regarding the development of teaching materials on female composers and their works. c) My work is anchored in insights from didactics in natural sciences, notably Predi-ger’s tetrahedral model, which illuminates the role of teaching material in instruc-tional change. Educational policy - exemplified by the 2018 ministerial decree in Aus-tria addressing gender equity - further informs the framework. Studies by Ostleitner and Schiemann show the persistent underrepresentation of female composers in current teaching materials. Foundational studies by Kertz-Welzel, Warwick and Debus provide additional theoret-ical grounding, linking curriculum development with reflexive gender pedagogy. d) A participatory study (DBR) is planned from autumn 2025 to summer 2026, in which a collaborative team of researchers and teachers will: • examine the role of teaching materials and media in instructional change (guided by Prediger’s model), • develop and test innovative teaching materials, • integrate interdisciplinary research findings, and • iteratively refine curricular implementations. Expected outcomes include insights into the efficiency of various implementation strategies as well as the different qualities and criteria of material that establish inno-vative topics, using the example of increasing visibility and audibility of female com-posers and their works for the facilitation of efficient gender-reflective pedagogy. The Impact of Creative Music Activities in Teaching on the Musical and General Development of Pupils
The research topic is focused on creative activities in music education within primary education, specifically on how these activities can serve as stimulating factors for successful and productive music classes, with an emphasis on the development of both individual and group musical and general abilities in pupils. For the purpose of the above, it is necessary to identify and establish how and in what way creative mu-sical activities encourage successful and productive music classes, how and in what way they influence the development of positive dynamics in the classroom, which is visible through greater activity and involvement of pupils, which ultimately results in higher quality results of music education and more successful development of pu-pils' musical and general abilities. According to legal frameworks and curricula, crea-tive activities should be included at all levels of music education, but in practice and literature, their representation is quite uneven when it comes to music teaching in general primary schools, especially for the upper primary grades. Through a compre-hensive analysis of curricula in Bosnia and Herzegovina (BiH) compared to practices in other countries, alongside research involving teachers and practical activities con-ducted with pupils in schools, the intention is to provide a clearer understanding of the current state of music activities and their importance and contribution to the de-velopment of pupils' musical and general abilities. The relevance of the research is underlined by the very need for this type of research, given that this topic is rather un-even or neglected in the subject teaching of music in basic general education in BiH. Most previous studies have concentrated on instrumental and theoretical teaching in music schools or early childhood education. In contrast, this research focuses spe-cifically on music education in general education schools. Deaf Performance as Musical Practice There are deaf people who value their deafness as a characteristic of a culture that shares sign language, traditions and various forms of artistic expression (Taubwis-sen, 2008). Music performances in which sign language plays an important role are also part of this culture and are grouped together with other art forms under the term deaf performance (Bayerischer Rundfunk, 2022). The aim of my research is to under-stand the culturally and physically shaped orientations of deaf people's access to and their understanding of music in sign language music performances. For my re-search I conduct interviews in German Sign Language with deaf performers, evaluate them using the documentary method developed by Ralph Bohnsack (2021) and focus following research questions: The Multifaceted Dimensions of Choir Competitions: Conductors’ Perspec-tives Stefanie Schopf, University of Music Freiburg (Germany) Overviewing the past three decades of music mediation and concert education, prac-titioners and researchers encounter a multi-faceted discipline whose terminology is similar heterogeneous in use as the practice itself. The spectrum of this discipline subsumes diverse sub-disciplines, formats (analogous, digitally) and collaborations, e. g. between concert halls, opera houses, orchestras and schools. Regardless of the ambiguous state of definition, researchers as well as practitioners agree in the value of “personally and social significant aesthetic experiences” (Rüdiger 2014, 9) which all of these initiatives and formats enable to their addressees. Ernst Klaus Schneider distills this even further by arguing that “mediation […] will become core compe-tenc(y) of artists in the future.” (Schneider 2001, 118). Teaching composition in Elementary Art Schools in the European Context Katerina Szymeszková, Masaryk University (Czech Republic)
Epistolography as a Historical Source: A Musicological Look at the Correspond-ence of Eurico Thomaz de Lima (1908-1989) Inês Tavares, Universidade do Minho (Portugal) m.ines.tavares@gmail.com
My doctoral research – “Epistolography as a Historical Source: A Musicological Look at the Correspondence of Eurico Thomaz de Lima (1908-1989).” – analyzes letters from the composer’s archive, exploring his roles as pianist, composer, and peda-gogue, while contextualizing his musical work (including those for childhood) and professional and personal relationships. A key aspect that emerges is the interplay between his pedagogical and artistic activities. His work as a pianist and composer was always intertwined with teaching, a distinctive characteristic reflected in his pedagogical repertoire choices, emphasis on musical expressiveness, and the role of traditional music in shaping young musicians’ education. The main research ques-tion is: How does the correspondence reveal Eurico’s musical trajectory as a pianist, composer, and pedagogue? Previous research includes a co-presented paper with Elisa Lessa, “Works for child-hood by Eurico Thomaz de Lima (1908-1989): an excellence repertoire in musical learning. The example of Chula do Douro (1948)”, presented at National Meeting of Portuguese Association of Music Education, later published in its journal. I also pre-sented “Four letters between musicians: the correspondence from António Thomaz de Lima [father] (1887-1950) to Eurico Thomaz de Lima [son] (1908-1989)”, examining the family’s musical environment and cultural capital transmission. Letters in musicology offer insights into artistic aspirations, composition challenges, and musical aesthetics (Cascudo, 2020; Toni, 2007). Notable studies on Portuguese composers, such as Vianna da Motta (Beirão, 2015, 2018) and Lopes Graça (Alves & Cascudo, 2013), frame this research. Eurico’s letters offer unique perspectives on the Portuguese musical scene (Barros, 2023). The methodology includes a theoretical framework, analyzing the correspondence, searching for additional letters in archives, identifying relationships with cultural and musical figures, creating a database, and mapping Eurico’s trajectory. The research outcome analyzes Eurico’s relationship with pedagogues, students, composers, and cultural figures, assessing their impact on his career as pianist, composer and pedagogue. This project is financed by FCT (Fundação para a Ciência e Tecnologia) PhD Studentship (ref. 2024.02592.BD) Music Education and right-wing extremism Julian Vorst Universität of Oldenburg (Germany) This doctoral research project, currently in its early stages, is a study that investigates teachers' perspectives on dealing with right-wing content in music in the classroom. It focuses on both the presence of right-wing extremist content in music and how music is used by right-wing groups to spread their ideologies. Previous research in German-speaking countries has focused on bands such as Frei.Wild (Büchner) and populist narratives promoted by artists like Xavier Naidoo (e.G. Dunkel & Schiller). While past studies have explored how students engage with radical content in music (Brunner), the dissemination of right-wing ideologies through music has changed significantly with streaming services and social media. Given the political shift to the right in many European societies, it is crucial to examine how music functions as a medium and tool for spreading right-wing ideologies. However, research addressing teachers' perspectives remains scarce - this study aims to fill that gap. The study in-vestigates the following research questions: What connections exist between right-wing extremism in music and music education, and what role does teachers' practi-cal knowledge play in shaping their instructional approaches? How might teachers' socio-biographical backgrounds influence their strategies and the challenges they face in addressing this issue? |
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