diversity, which has been increasing in recent times in educational settings, although society has advanced a lot, certain issues are still present, also in education. Our objective is, on the one hand, to know briefly the repertoire used in the training of future primary teachers, and on the other hand, what should be the political responsibilities regarding compliance with the SDGs (Sustainable Development Goals). Since ancient times, the songs have been used for different learning, numerical, poetic, geographical, or gender. The making of a song book, was already a proposal that allowed to assimilate theoretical musical content, now we want to go further and pay attention to the lyrics, their meaning, the roles they can mark. This leads us to an interdisciplinarity, from the need to meet the different competences that are demanded in education, both from students and teachers. Music, an element that lives and coexist with people of all ages, being part of their lives, also becomes a way of understanding life, values or emotions. In this sense, we believe that education must also acquire social commitment, as a fundamental key in teacher training, and responsibility in the knowledge, attitudes and skills that are developed in the school. We are still listening to predominantly masculine repertoires, which usually send a message, away from the new approaches to gender equality. On the one hand, we propose a brief review of the teaching programs of teacher training, and, on the other hand, a proposal to provide musical composition tools in the classroom, from some recommendations in the repertoire, as well as recommendations for policy makers. How we choose music and songs is important, and also to have resources that allow future teachers to use music education as tool to acquire values. We believe that a good way to educate on gender diversity from music is to encourage the creation of the own projects. This tactic will allow the future teacher a certain freedom to adapt their methodology, approaching the reality of his students. It will also allow the acquisition of skills and abilities other than music, in addition to knowledge of cultural diversity and heritage, which is, for example, the popular folklore of a territory. Our proposal also connects with most of the 17 SDGs and provides information for policy makers.

This report reflects on an exploratory STEAM workshop at the University of Newcastle, School of Creative Industries, Conservatorium of Music, Australia. Twenty-six middle school-aged students attended the two- day workshop. On the final day, students presented an immersive concert for parents and friends, showcasing creativity, innovation and teamwork. Interestingly, Lego robots were employed as a physical tool through which music-making students interacted with each other and built attributes of creative engagement. These attributes were measured via the Six C’s established by Bers comprising: (1) Collaboration; (2) Community Building; (3) Communication; (4) Content Creation; (5) Creativity; and (6) Choices of Conduct. This report suggests the integration of robots can also enrich the musicianship of students, building upon their traditional music training.

ACKNOWLEDGEMENTS Profound thanks to the children and adults throughout Brazil who generously shared their musical memories with me. Thank you to my hosts during the fieldwork period: the Monteiro family, the Mincov family, the Evaldo Santos family, the Bernardes family, the Elvia Santos family, and the Baklizky family. Thanks to my dissertation committee: Dr. Janice Killian, for modeling excellence in music education scholarship; Dr. Christopher J. Smith, for opening the world of ethnomusicology; Dr. Anna Ribeiro, for sharing aesthetic philosophy and Brazilian contacts; and Dr. Eva Midobuche, for fostering a passion for cross-cultural learning. I especially thank my chair, mentor, and friend, Dr. Susan Brumfield. Your humor, encouragement, respect, and scholarship are worth more than money can buy. I want to thank friends at Texas Tech University who were happy to help: John Wayman, Mark Patterson, Jeremy Buckner, Andy Paney, Andrea Riggs, Daniel Todd, and Donna Hogan. Thanks to my ...

The study examined the content of methods used in amateur guitar education, namely "Guitar Method for Children" (Bülent İşbilen & Özhan Gölebatmaz), "Classical Guitar Method" (Ahmet Kanneci), "Easy Training Method for Classical Guitar" (Bülent İşbilen & Güray Demir), "Classical Guitar Method" (Murat İşbilen), "Arenas I" (Rodriguez Arenas), "Guitar Method I" (Ziya Aydıntan), and "Introductory Method for Classical Guitar" (Bekir Küçükay). The research employed a scanning model. In the data collection phase, methods were obtained, and their contents were examined for topics such as the Historical Development of Classical Guitar, Basic Information, Tuning of the Guitar, Nails, Starting Positions, Visuals, Study and Piece Descriptions, Speed Terminology, and Table of Contents. The results, presented in tables, revealed that two of the methods lacked a table of contents, speed terminology was only presented in one method for all pieces and studies, and topics such as nails and tuning of the guitar were not covered in most methods.

Musical performers have typically been categorized as either “classical” (reading music), or “playing by ear,” (usually popular or folk music). The two groups of musicians were seen at polar opposite ends of a spectrum. The intent of this study was to explore a comparison between traditional teaching from notation (reading group), and another method that focused on ear playing, and imitation of a model (hearing/modeling group), with an intact class of music education majors learning to play the guitar (N=22). A panel four of judges who evaluated each student’s final performance of a mandatory prepared piece without knowledge of their treatment group, scored each individual in five categories: note correctness, rhythmic precision, confidence, expression, relaxation and posture, tone quality, and synchronization between the hands. There was a significant difference in the final performance assessment between the hearing/modeling and reading groups. The hearing/modeling group had highe...

The paper deals with musical learning in adults. The goals of this study were to identify the profile of adult students who decide to study music, their motivations and interests, preferences and contextualization. We also are interested in the possible methodologies that could be implemented for music education in adults and what benefits or improvements could report them as adults differ from children and adolescents who are enrolled in some kind of musical training.