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Under the pressures of neoliberalism, in Australia, the Victorian senior Music curriculum has been diminished. Neoliberal reforms have prioritised accountability, employability, and standardised outcomes, leading to a re-prioritisation of musical content and knowledge. This has led to reductions in musically specific content and increased focus on non-musical transferable skills. Concomitant has been an emphasis on informal processes within formal curricula. Highlighting implications for creativity, cultural diversity, and pedagogical practice, we contextualise changes to the Victorian example with curricula in the UK and US. Findings reveal a global trend toward more balanced, hybrid models integrating formal and informal learning. The findings inform debates on curriculum design, pedagogical practice, and policy development, highlighting the need for balanced approaches that preserve musical depth while accommodating broader educational goals.

Australian women composers have often found outlets for their works in pedagogical spheres, such as that offered by the Australian Music Examination Board (AMEB). Renowned composer Miriam Hyde (1913-2005) created many carefully designed works that were included in piano syllabi and repertoire. One example is Four Funny Frogs which was dedicated to teachers at the Victorian Music Teacher Association Summer School. This article presents an overview of the work of Hyde and focuses on the teaching possibilities inherent in this one small piece.

In developed countries, digital technologies are disrupting every facet of students’ lives. It is no longer an option to turn off devices and disconnect from the outside world at the school gate. Educators are struggling with the number of technologies being introduced and how to safely and effectively integrate these tools in classrooms that have no boundaries. In an era where it seems that each child takes central place on the world stage; always connecting, learning, creating and sharing, it is timely to investigate the experiences of technology-rich 10–14 years old Australian students’ experiences with technology in everyday life, and reflect on the persisting challenges and the new possibilities being created by the myriad choices of technological tools and their uses. The purposive selection of the participants was based on the volunteers’ daily access to personal devices and frequent use of applications and various online platforms. This inductive qualitative study used concept mapping as a tool for conducting research and thematic analysis to identify and explore patterns in the data. Our findings reveal the formation of a fluid and hybrid digital rhizomatic non-hierarchical and multiplicitous network that allows students to connect, think, act, interact, access ideas and resources in ways that may assist educators in closing the gap between formal learning and informal learning whilst living in a rich technology world.

In research, particularly within the pedagogies of doctoral supervision, the significance of relational experiences is less explored and understood. Such relational aspects determine the nature and quality of the doctoral research output and are a crucial element of successful doctoral completions. A conscious assessment, estimation and management of the vulnerable sensibilities surrounding these relation fosters a deeper insight into the way student-researchers and supervisors experience their doctoral journeys. In this paper, to feature the importance of these relational experiences and to accentuate ideas and concepts for pedagogical change, my co-authors and I forsake the repetitious and employ Langar - a Sikh cultural practice of congregational cooking and consumption of a shared meal as a postqualitative methodological alternative. We utilise the innovative insights of Langar to reflect on our own research experiences and demonstrate the complexities of ‘becoming’ researchers to explicate how a sometimes-distant cultural practice could induce a shift in our research thinking. In context of methodological approaches, and within an educational framework, we argue that such a shift may instil freshness into the way doctoral journeys and cognate supervision pedagogies are viewed, navigated, and experienced. Methodological innovation, we submit, may occasion pedagogical transformation.

As a primary school student in the 1960s the author learnt the recorder. This paper explores how the recorder became a staple of Australian primary school music programs. At that time recorders were comparatively recently revived Renaissance musical instruments that were adopted by music educators as a way for children and their teachers to engage in instrumental music making in classes. The inclusion of recorders in school music lessons was not always as successful as hoped but a lucky few had recorder teachers who were expert musicians like my teacher. This personal history explores the arrival and presence of the recorder in school music in South Australia. Data were gathered from primary and secondary documentary sources, personal recall and an interview with my recorder teacher, Cecily Wood. This research considers a commonplace occurrence in the lives of many Australian children and by focusing on a taken-for-granted practice in school music, adds to the historical record and to our understanding of what we do and why we do it. [Author abstract, ed]

“Calista” is a bilingual, bicultural Greek-Australian musician in Melbourne, Victoria who explores and enacts her bicultural identity by musicking (making music). This single case study explores the formation and development of hybridized identity which is a complex lifelong process that may generate tensions for an individual that changes across the lifespan. There are strengths and challenges for those traversing different cultures. This study focuses on a bicultural identity formed by personal, musical and cultural contexts. Calista enacts her bimusicality in different musical genres and in different modes of musical engagement. Data were collected by semi-structured interview and by reference to published materials. Data were analysed using Interpretative Phenomenological Analysis. The findings are reported under three themes that reflect different stages in Calista’s life: Becoming a Greek-Australian musician; Mature musicking; and Teaching and community work.

The Australian Government (AG) employs Indigenous Engagement Officers (IEO) in many of the remote Aboriginal communities of the Northern Territory (NT). IEOs are respected community members who apply their deep understanding of local tradition, language and politics in providing expert cultural advice to government. Competing priorities of workplace and cultural obligation make the IEO role stressful and dichotomous in nature. The workplace experiences and perceptions of IEOs remain largely unexplored and there is scant understanding of the significant crosscultural issues associated with the role. IEOs typically confront ongoing workplace stress and are unable to perform at full capacity. This qualitative study explores participant meaning regarding workplace and community roles to inform the AG in development of culturally appropriate training and support for IEOs. The study captures detailed information from six IEOs through an interpretive process sensitive to phenomenological experience. Personal meanings associated with the workplace are assembled through individual interviews and focus group sessions. Interpretative Phenomenological Analysis methodology is applied to the resulting idiographic dataset in exposing a range of superordinate themes including desire for recognition and feelings of abandonment. Findings reveal the need to incorporate correct cultural protocols in the workplace and give preference for Aboriginal learning styles in professional development activities. There is urgent need for a range of workplace supports for IEOs in future capacity-building strategies. [Author abstract]

In 1993 the Victorian Music Teachers' Association (VMTA) published a fund-raising cookbook, Prestissimo Food for Agitato Musicians. Community cookbooks provide social historians with valuable windows into the lives and personalities of the contributors. The VMTA cookbook is no exception, bringing individuals into sharp relief and including asides that delineate the life of a studio music teacher. This narrative historical research relies on primary and secondary sources that are analysed and interpreted to explore this more informal insight into past lives. The data reveal busy lives negotiating teaching schedules and competing demands, with humour and practicality. The glimpses into the lives of past studio teachers resonate with current practices in this somewhat conservative profession. In this research, we also recognise the contributions of past colleagues. [Author abstract]

This research investigated the effect of parental influences during the process of choosing a career for first-generation Indian-Australian women. Indians form an established community in Melbourne with thousands of Indian-Australian students studying in Australian universities. These students and their families come from varied cultures, with different familial and cultural values and different career motivations. This qualitative case study employed semi-structured interviews to collect data from two families (children and parents). Data from transcripts were analysed thematically. The research found that the two first-generation Indian-Australian women interviewed were influenced by their parents’ values as well as their own internalised pressure to gain parental approval. Although the participant sample is small, a well-chosen and crafted single case can illuminate the functioning of a social system. This Australian study illustrates how globally diasporic Indian families engage in parent-child conversations about careers and education.

There is a universality to the sight of groups of children celebrating public events. These groups might be large or small but teachers and students put much time and effort into preparing performances for appreciative audiences. These events occur across cultures and countries, are commonplace and expected but also highly memorable to participants and spectators. Sometimes such events gain greater historical significance due to time, place and context. One such example occurred in the years preceding World War 2 in the small but staunchly patriotic State of South Australia. In 1936 13,000 school children gathered in Adelaide to perform a Pageant of Empire as part of the State centenary celebrations. Despite there being rumblings across the globe about the viability of the British Empire or its successor, the Commonwealth, Adelaide was overwhelmed by the spectacle. Miss Inspector Adelaide Meithke brought the production to fruition. The pageant presented choreographed musical displays representing England, Scotland, Ireland, and Wales. The Empire was represented by Indian rajahs, dancing girls, guards, and an elephant, followed by Canadian scenes, then Australian iconic images. The event concluded with the 'Family of Nations'. This article includes participant recollections and is framed by contemporary discussions of the place and role of the Empire. This South Australian celebration can be understood as a looking back to what had been, using visual icons, music, dance and a cast of thousands. [Author abstract]