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Despite a large body of research into learning styles from cognitive, personality and activity perspectives, the definition of learning style is still unclear. The assessment instruments commonly in use have methodological problems. The learning styles of conservatorium instrumentalists are scarcely known and are best studied using an observational approach. This study investigates student behaviour in 24 studio music lessons in order to provide music educators with new means of describing and classifying learning styles in this unique setting. Six learning styles were identified using cluster analysis, with the largest group of students using the Compliant style of learning that exhibits submissive student behaviour associated with maestro-style teaching. Similar numbers of students employed positive learning strategies (Extrovert and Serious) and negative learning approaches (Apologetic, Disappointed and Frustrated). Stereotypical gender attitudes to learning emerged. The results provide new insights into the learning styles of advanced instrumentalists and inform professional practice by drawing complex models of music learning occurring at conservatorium level.

This paper reports an evaluation of a pilot program of workplace music mentoring for generalist classroom teachers in eleven early childhood education settings in Australia. Mentoring in the arts in general and in music specifically is still under-researched despite a considerable body of literature on approaches to mentoring, and descriptions of mentoring practices and outcomes. The pilot program documented here was created to increase access to music education for Australian children through establishing mentoring relationships between experienced specialist music teachers and generalist classroom teachers. The program aimed to address a lack of music training during undergraduate teacher preparation and a perceived lack of confidence in music teaching and singing amongst generalist classroom teachers. The evaluation of the mentoring program included semi-structured interviews with ten principals, seven mentors and nineteen mentees regarding their experiences. Three researchers conducted the thematic analysis of transcripts independently and refined the emerging themes through iterative discussions. The findings demonstrate that the workplace music mentoring delivered positive outcomes, enriching schools' music curricula, structuring locally relevant programs, building resources, teacher music skills and confidence, and impacting positively on student learning and behaviour. The in-situ longitudinal mentoring model implemented expands on traditional approaches to professional development for in-service teachers of music through a collaborative self-development approach.

This article reports on the impact of a generalist teacher-led music program on early childhood school children’s singing skills and attitudes to music. Singing tests and class surveys were administered to students in 11 Australian primary schools where music specialists mentored classroom teachers over the period of one to two school terms. The results show that implementing music activities in early education settings can positively impact young children’s singing skills and attitudes to music regardless of gender, ethnicity and socio-economic standing of the school. The study provides empirical evidence of the benefits accrued by children through access to music education.

This article evaluates a new curriculum for training of sight-reading skills in advanced pianists that combined three teaching strategies proven effective in an earlier study. The course was developed collaboratively and trialed in two implementations. Twenty-five participants were pre- and post-tested and their playing analysed using custom-made software. Mixed-model ANCOVAs were used to analyse performance data against the results from the individual training programs. The findings show that the students using the hybrid program improved significantly in their sight-reading skills in all four categories measured, surpassing progress made in the individual programs. Implications for future research include application of such a hybrid approach to the training of younger pianists and to sight-reading on other instruments.