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This study aims to address the question of what coordination mechanism can be used for cultural production and, in particular, for the governance of music culture production. The authors locate their reflection within the specific institutional innovations introduced in Italy in 2017, focusing on the idea of shared administration and the public–private collaboration instituted in Trentino (a province located in northern Italy) in support of its cultural policy.

This study focusses on the Trentino’s music school system. This includes 13 organisations (musicians’ cooperatives as well as associations of musicians and students, plus one municipal school which do not overlap with the public school system). To analyse shared administration features, the authors rely on selected information from 50 interviews with Trentino Music Schools (TMS) teachers and administrators, and on the proceedings of the 1994 music school conference organised by the schools at the time when this novel educational system was created.

To offer an innovative educational service, the public actor (Provincia Autonoma di Trento [PAT]) and the schools (TMS) have developed a strong interdependence at the different levels of decision-making: PAT needs organisations that are sufficiently structured and organised to respect requirements of transparency and accountability, as well as educational standards, whereas TMS need public funding to maintain their service accessible for users, good labour conditions and be financially sustainable. Likewise, the success of TMS in educating thousands of students every year, including additional teaching programmes funded by PAT within general public schools, has contributed to decrease the exclusion from music education, raise interest in young people for music and fed enrolment in TMS as well as in the public schools related to the conservatoire filière. Conclusions emphasise the existence of a polycentric system of music culture production which needs to acknowledge the risk of being trapped in a static disequilibrium, while recognising change and the need to support and promote a culture of cooperation among schools and across layered institutional levels over time.

Further research can observe this system of cultural production over time, to appreciate changes and organisational tranformations, while introducing comparative analysis with other systems in different regions.

The relationship between the public and private sectors to design, organise and manage activities of collective interest (in the social, cultural, sporting and other fields) can increasingly become an effective and efficient alternative to the traditional bureaucratic as well as to the competitive method. For this to happen, however, all actors involved must be aware not only of areas of efficiency but also of inefficiency. To remedy the latter, corrective measures will have to be introduced. For example, fostering and improving “co-programmazione” and “co-progettazione” means giving all stakeholders involved the opportunity to actively participate. Should the number of participants increase, more discussion fora could be set up because one alone may not be sufficient to foster maximum involvement, to enhance different points of view, to allow for intersectoral and multidisciplinary interpretations and responses.

The system governance based on co-programming and co-design has allowed – despite limitations – to pursue educational purposes and thus well-being for the users, as well as for the teachers and the community as a whole. The continuity of this educational and cultural action has been guaranteed by the economic and financial sustainability of the schools, which is highly dependent on the public actor funding personnel costs, and in turn tied to the number of students (demand) attending each school. Actors embedded in the system need to build awareness of industry and cultural changes and knowledge of how to introduce more adaptive capacity. This points towards the need for strengthening networking capacity and collaboration among schools and other relevant stakeholders.

The case presented is a unique system of music culture production in Italy, and its governance has never been addressed by previous studies. It provides an application of shared administration to which public administrations and communities can learn to improve access to music culture and education. For public and private organisations to take advantage of the method of “co-programmazione” and “co-progettazione”, to make the production of a meritorious good more efficient and to favour its maximum accessibility, this study considers the strengths and weaknesses of this approach, or the areas of efficiency and inefficiency, for which new measures will have to be introduced.

The purpose of this paper is to examine music teachers' perceptions of teaching cultural and national values (also defined as national cultural values) to explore the tensions facing school music education in the choice of music types to be delivered in Hong Kong and Taiwan.

With specific regard to music teachers' perceptions of “values,” “music cultures” and “nationalism,” data were drawn from a survey questionnaire given to 343 music teachers (155 preservice and 188 in-service music teachers) and semistructured interviews with 36 of these respondents.

The findings of the study showed that though many respondents in Hong Kong and Taiwan felt comfortable teaching traditional Chinese music, they did not want to teach contemporary Mainland Chinese music and other political or patriotic forms in the school music curriculum. The data also demonstrated some shortcomings in introducing a balance of music types into the curriculum, as well as limitations in promoting national education in response to the respective sociopolitical situations in Hong Kong and Taiwan.

This study was subject to limitations regarding the potential generalizability of the findings on school music teachers' perceptions in Hong Kong and Taiwan.

The implications for teachers and student teachers regarding the development of cultural and national values related to the political processes in Hong Kong and Taiwan are complicated, because of not only their relationship with Mainland China and its education based on nationalism but also the extent of teachers' professional training to help create an enabling environment for national and cultural development.

The findings of this study revealed that there are fundamental gaps in the overt and operational curricula in Hong Kong and Taiwan concerning the sociopolitical function of values in school music education in response to their respective sociopolitical situations.

Despite an ever-diversifying student population, it is still commonplace for US public schools to present Christmas concerts. These concerts can force minority students to choose between their own religious convictions and school participation. For some students, participation in public-school Christmas concerts can damage their personal identity and assimilate them into ways of being that are not their own. This study aims to test a method for teaching preservice teachers to empathize with minority students.

Using the framework of action research, the study followed a one-group pretest-posttest design. Participants (N = 19), all of whom identified as some kind of Christian, were asked to perform a concert featuring Satanic Worship prayers and a children’s Christmas song. This intervention was meant to induce empathy for religious minority students who feel uncomfortable performing Christmas songs because they are antithetical to their own faiths. Participants’ perceptions of public-school Christmas music performance was measured before and after the intervention.

The intervention effectively increased empathy for minority students. As a result, participants expressed altered teaching philosophies that were inclusive of religious minority perspectives.

This study demonstrates the effectiveness of empathy-fostering interventions as tools for teaching teachers to work with diverse student populations. The intervention tested in this study is of the researcher’s original design.

A growing literature is now claiming that participation in the arts, and music in particular, is beneficial to health. Whilst some claims are made for music benefiting physiological health, the main benefit would seem to be for gains in emotional wellbeing. There is a gender dimension to participation in music, with girls being more likely to participate, and boys who wish to sing or play certain instruments facing the disapproval of a “macho” peer culture. The paper reports on qualitative research carried out into the views of 18 boy singers in a well‐known church choir in England, using observation, diary keeping, individual and group interviews. The boys showed a deep appreciation of and engagement with the music. They exhibited many features of high personal wellbeing, including the social competence to circumscribe the proscriptions of “macho” culture. Those from state schools were very critical of the superficial way singing was tackled in their schools. Secondary schools were reported as being more accepting of their singing than primary schools. All the boys were academic high achievers and were particularly keen on autonomous reading, again being critical of the guided reading offered by their schools. The paper concludes that state schools could do more to involve young people, including boys, in singing, and to take the subject more seriously, but acknowledges that the pressures on state schools to deliver literacy and numeracy are making this difficult.

The purpose of this chapter is to map out the role of arts and the transfer values of the case of intensified music education as a governance tool for cultural sustainability. It takes the form of a literature review, which reveals that the role of arts in terms of governance of cultural sustainability includes the arts as issues of cultural heritage; symbolic translations of cultural values; transferring learning about emotions and life-quality, cooperation and linguistic-logical skills and potential transmitters of socio-economic enhancement of individuals performing it. The negative outcome is that the arts are predominated by the elite and wealthy, and that the potential of the role of the arts in the public education curriculum has not been utilised nor preferred in many countries as a result of low government expenditure. Other projects may exist in non-academic public media that may confirm or reject the findings. The chapter suggests academia and practitioners study, impact and initiate better ways of including the arts in the governance of cultural sustainability through public education. The inclusion of the arts in public education can improve the livelihood of children in all socio-economic areas. It connects two different literatures – that of cultural sustainability and that of traditional art studies in education, and raises questions about current governance practices underestimating the value of including cultural sustainability in governance and the role of the arts herein.

With a focus on undergraduate music major students in China, the study sought to examine how higher music education institutions prepare professional knowledge, professional skills and soft skills in relevance to music students' employability.

The quantitative survey engaged 359 music students from five music institutions in Western China to report their perceptions toward music curriculum related to employability. The current study examined whether their perception varied based on their gender, location, school, educational background and professional option purpose.

Perception differences in the music curriculum were observed across gender, schools, educational background and professional option purpose. School differences were the most significant among all five factors, followed by professional option purpose, educational background and gender. The location difference was insignificant among the five factors. There were insufficient opportunities for community and industrial engagement in higher music education.

The current study provides an insight into the higher music education curriculum for employability preparation in current China. This is one of the limited empirical studies in Western China to investigate music students' perceptions of professional knowledge and skills and the soft skill line with employability. The findings can serve as a reference for prospective employees in the music industry, policymaking and curriculum design and future research.

This study aims to use a variant from the family of discrete choice models, i.e. the logit model, to analyse the relationship between the Y dependent and X explanatory variables. This model addresses the linear probability model's main drawback by constraining the probabilities of the Y outcome between 0 and 1. The logit model also offers an extra advantage, in that it can provide odd ratio estimations.

This is a compact case written specifically to teach statistics, econometrics and research method. It has an accompanying data set for the case-users to do hands-on statistical analyses. The data set has been collected from a questionnaire survey from the students enrolled in Attitune, i.e. the music school that the case protagonist founded.

The case revolves around a relatively new music school, Attitune Music, established in July 2017 in the heart of the capital city of a northern state in Malaysia. Michael Lee Wei-Pin was the founder of Attitune Music Sdn. Bhd. He was also one of the four music instructors of Attitune Music. His speciality instruments were the guitar and the piano. The case opens with the case protagonist, Michael, pondering over Attitune’s performance in terms of its music students’ enrolment. Attitune faced a major challenge – its student enrolment had remained more or less constant since its establishment. Low and/or constant number of students could ultimately translate into stagnant or even worse, shrinking revenues for Attitune. To attract more students, Michael had been toying with the idea of injecting new elements into Attitune’s music lessons, something different from what other music schools were offering and that could be unique selling points for Attitune. With this in mind, Michael surveyed Attitune’s students to gather information that could help him gauge the potential and feasibility of his idea.

This case is well positioned to be perhaps the pioneer Malaysian teaching case to be written to teach courses in statistics, econometrics and research methods. The case can be easily adapted to teach at either the introductory or at an advanced level.