Design-based research (DBR) is an internationally recognized framework for the empirically grounded development of educational designs and generating local theories related to the design (e.g. McKenney & Reeves, 2019; Bakker, 2019; Reinmann, 2005). In music education research, Design-based research approaches have been successfully used for the design of and research on various innovative formats of learning and teaching in schools (e.g. Aigner, 2017; Buchborn et al., 2022; Höller, 2022; Konrad, 2021; Theisohn, 2023; Treß, 2022; Völker, 2023) as well as in instrumental pedagogy (e.g. Heiden, 2018; Kehrer, 2013).

However, as first reflections of such projects suggest, collaborations between practitioners and researchers are not always free of misunderstandings or differences in different target objectives, time logics and practices (Konrad, 2019; Endres, Treß & Völker, 2024). Therefore, according to Dilger and Euler (2017), a successful collaboration is not only one that lasts as long as planned and needed, but also one that draws attention to the practitioner’s and researcher’s individual needs, beliefs, values and resources. As hierarchies in resources (e.g. financial, workload, knowledge) and power influence the collaboration, we suggest to understand the democratization of Design-based Research as a resource-sensitive negotiation of roles and role constellations and a self-chosen degree of participation.

Against this background, the current research paper provides an overview over current literature concerning possible roles and role constellations of practitioners and researchers in Design-based Research studies, summarizing them in a model (Endres & Buchborn, in preparation). Drawing on examples from music education research, we will invite to a discussion on subject-specific roles and role constellations as well as the potential of DBR to democratizise music educational research.

Although research-informed teaching is increasingly emphasized in education policy and teacher training, pedagogical research is often perceived by practitioners as inaccessible, irrelevant, or overly abstract (Cochran-Smith & Lytle, 1993; Farley-Ripple et al., 2018; Hargreaves, 2007; Matusov, 2017). Many teachers report that academic articles rarely communicate clearly what works in practice, making them difficult to read and apply. This disconnect poses a challenge to the development of professional competence, which depends on the integration of theory and practice—and is positively linked to student learning outcomes.

This study investigates how Norwegian music teacher students engage with research-based knowledge and how such engagement can support their development as reflective, research-informed, and democratically minded practitioners. The project combines survey data with a practice-based assignment to explore students’ attitudes, experiences, and challenges related to research literacy: reading, comprehending, and applying research in music education.

In the first phase, a survey examines students’ perceptions of research relevance, preferred access formats, and barriers to engagement. It also explores their understanding of what constitutes a research article and whether research has influenced their pedagogical thinking. In the second phase, students select a peer-reviewed article, summarise it in accessible language, and design a teaching plan that applies its insights to a real-world music education setting. They then reflect on the process and its impact on their thinking and practice.

By foregrounding students’ voices and experiences, the project highlights how research engagement can foster critical thinking, professional agency, and pedagogical innovation—key components of democratic education. The findings offer insights into how music education programs can better integrate research literacy to promote participation, diversity of perspectives, and social responsibility.