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The purpose of this paper is to describe the music performance collection preserved in Eastern Washington University’s institutional repository (IR). This collection of recordings of student music performances is the result of an ongoing collaboration between the university?s library and music department, which serves to provide discoverability, preservation and access to a collection of student creative works, which had heretofore been a hidden collection.

This collection of student creative work was identified as a suitable project for the Eastern Washington University’s IR while it was still in the planning stages because it was identified as an existing need that the new IR could address. Much of the groundwork for the collaboration between the library and music department was completed prior to IR implementation. Thus, the library was ready to begin work on this collection once the IR was operational.

The student music performance collection has been a successful project for the IR, which benefits the music department by making student performances discoverable and accessible, and benefits the library by providing the opportunity to demonstrate that the then-new IR could support the university’s student-centered focus on teaching and learning.

While there is a growing body of literature on IRs emphasizing student work, there is little literature on music or other creative works’ collections in IRs, much less on creative works by students. This paper adds to the limited body of literature on student creative works in the IR by describing the development, implementation and lessons learned from the successful music performances collection.

Entrepreneurship education is recommended for implementation throughout the entire educational path. However, there have been challenges in implementing entrepreneurship education for many kinds of students, especially in non-business education. The purpose of this paper is to ask how 15-year-old students in Finnish basic education are able to find their “entrepreneurial selves” by looking at their musical activities through an “entrepreneurial lens”.

This case study examines an intervention carried out among music students in basic education. The music teacher interpreted the enterprise approach as guiding the students to experiment with different styles in singing and playing instruments, to seek various opportunities to sing and play both individually and as a group, and to reflect upon their activities. To awaken their entrepreneurial selves, the students were guided to assess their musical activity using 12 enterprise concepts.

The study shows that students in basic education can be encouraged to reflect on their music studies by comparing their musical activities with small-sized entrepreneurs’ attributes and activities. For example, the students pointed out the ability to take initiative and cooperate. One principle in organising the music learning environment was to allow the students to make choices based on their own interests. The alternatives given led students to discover opportunities and to make decisions to experiment. Their reflective practices enabled them to make new decisions and finally own and lead their music learning paths.

This investigation shows that encouraging students to reflect on their study practices through an entrepreneurial lens may awaken them to their entrepreneurial selves regardless of the subject and context. Despite examining only music studies in basic education, the findings may prompt teachers and educators in other non-business educational contexts and subjects to apply the ideas shared in the current paper.

Music as a subject and basic education as an educational level have not been examined in depth as enterprise learning environments. Only a few previous studies have focused mainly on non-business students’ enterprise activities without training in business skills.

This research aims to explore in detail aspects of the role and character of student unions as venues for live music in post‐war Britain. Guiding questions ask: what part have student unions, entertainment officers and the wider body of students – in their role as consumers – played in the economics of the live music business? What is specific to the business of live music in student unions? How is this sector of activity related to national and local scenes, promoters, non‐student audiences and the wider popular music culture and economy?

The research draws upon formal and informally archived sources to formulate definitions and scope for research, tracing the historical emergence and fortunes of popular music programming in universities.

The research traces a history of professionalization of music provision by students, a result of co‐ordination efforts by the National Union of Students. It outlines the specific character of live music business in student unions as determined by its subsidized nature.

Sources for research are unevenly preserved and the scope of activity – historical and contemporary is considerable. Further empirical research is required in order to fully explore this important, if neglected area of cultural and economic activity.

The role and character of student unions in the economy of the music industry is rarely considered and this paper offers set of concepts for further research and detailed historical insights into this sector of business.

This paper seeks to explore how and via what tools music students are identifying, locating, and accessing music materials – specifically scores and recordings – for use in their music studies. It also aims to examine similarities and differences in the information seeking behavior of students in various music sub‐disciplines and students at different points in their academic tenure.

The study employed survey and focus groups methodologies.

It was found that students use myriad library and non‐library tools to discover and access scores and recordings. It identified the frequency and specificity with which students seek scores and recordings. There are more similarities between performers and music educators than musicologists or other areas, and graduate and upperclass students have different behaviors than underclass students, who are more likely to use library resources. This study also identified some of the reasons students become frustrated in searching for music materials and from where they seek help.

The response rate to this survey was only 11 percent and surveys are not the best indicator of actual behavior. While the use of focus groups did offset this to a degree, a more widespread survey and user studies would be merited to understand any wider patters of music student behaviors.

With the findings from this study libraries serving music students can tailor their instruction and marketing efforts. They can also focus their collections and resources appropriately for the various types of patrons served by their library.

Little previous research has been done on the general information seeking behaviors of music students. Other work has focused on music faculty, specific sub‐disciplines in music, or on issues specific to finding music in library catalogs.

The purpose of this paper is to elaborate the picture of situational relevance by examining how modes of music information are viewed as situationally relevant at different stages of information-seeking processes among music students.

Empirical data of the present longitudinal study were collected in two phases by utilizing questionnaire and interview methods. Informants comprised of 14 university-level music students representing the fields of music performance, music education and music theory and composition. Modes of music information were approached through the information typology presented by Rousi, Savolainen and Vakkari.

The findings indicate that not only the modes of music information were seen as situationally relevant for different reasons by the three participating music student groups when at the beginning of their tasks, but also that the perceived situational relevance of the information modes underwent changes as their tasks progressed to focus formulation and post-focus stages.

Due to the small number of participants, further research is needed to verify the results concerning the differences in information-seeking processes between diverse music student groups.

The paper showcases that approaching music information through frameworks that classify information sources at diverse levels of abstraction enables an accurate description of information-seeking processes and illuminates context-sensitive development of situational relevance of music information of diverse modes.

The purpose of this paper is to compare the self‐reported health‐promoting behaviours of music and non‐music performance students in higher education. It also seeks to determine the extent to which perceived health and self‐reported symptoms are associated with lifestyle, emotional affect state, self‐regulation and self‐efficacy.

Music performance students from two conservatoires (n=198) and students of nursing and biomedical science (health students) from two universities (n=65) aged 18‐26 years completed the health‐promoting lifestyle inventory; the positive and negative affect, the self‐efficacy and the self‐regulation scales, as well as reporting their present health and completing an inventory of musculo‐ and non‐musculoskeletal health problems.

Music performance students score lower than health students on health responsibility, physical activity and spiritual growth; also on self‐efficacy and self‐regulation. Music performance students rate their health, generally, worse than do health students, and report a wider variety of symptoms, which they rate as more severe than do health students. Perceived present health is most strongly correlated with reported healthy lifestyle. This in turn is associated with positive affect, self‐efficacy and self‐regulation.

This is a relatively small‐scale investigation of the health‐promoting behaviours and experiences of ill‐health reported by two groups of students following different programmes of study and with different career aspirations. Firm conclusions cannot therefore be drawn.

While nursing and biomedical science students may be atypical in that they are likely to gain a greater awareness of health issues from their studies, it could be argued that music performance students need to adopt healthy lifestyles in order to reach their full potential as musicians, and health promotion should be part of their training.

The interrelationships among lifestyle, physical health and psychological well‐being have been studied in a number of populations. The health‐promoting behaviours of music performance students in comparison with those of other students are of particular interest given the physical and emotional demands of expert music making.

For many students, studying history is a boring and irrelevant endeavor. Traditional, teacher-centered teaching strategies contribute to this unfortunate reality. While the lecture method and textbook readings can and should be used in the teaching of history, these methods should not be used to the exclusion of student-centered, engaging strategies. One strategy which has been theorized to motivate and instruct students is the use of popular music in the classroom. The following paper examines the use of popular music in the history classroom and the various ways in which its use can engage, motivate, and instruct students. It is suggested that the use of popular music can serve to capture students’ attention, create a positive classroom atmosphere, introduce and illustrate a time and place, generate interest in history, and enhance students’ knowledge and understanding of history, specifically that of the Vietnam War and the era surrounding it.

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.

As universities and colleges face an increasingly global environment, internationalization is viewed as a critical aspect of education, a fact that has significant academic and economic implications for higher educational institutions worldwide which need to be current with cultural education to adapt to change. Learning from other cultures is essential and valuable for students to connect with other cultures even as they enrich their own lives. Practical processes for developing successful cross-cultural education programs merit serious attention from higher educational institutions. The paper aims to discuss these issues.

The case study explored in this paper demonstrates a practical application of internationalization of music education by examining the experience and outcomes from a cross-cultural program jointly developed by a US and a Korean university. The success of the case study under review hinged on three critical factors for developing a cross-cultural program between international academic partners: organizational commitment, teamwork, and pedagogical content.

The findings support the assertion that the three key factors introduced in the framework can be applied to develop a cross-cultural program between international academic partners.

This study proposes a practical framework for developing cross-cultural education programs among higher educational institutions.

Musical experiences play a formative role in shaping individuals, culture and society. This chapter descriptively analyzes a six-week study abroad program based in Budapest, Hungary that focuses on music, popular culture, and the politics of everyday life. I begin by describing the program's rationale, goals, and objectives. I then provide insight into the program's content as it relates to music's formative role in sociology and learning. Lastly, I discuss the usefulness of Kotarba and Vannini's (2006) special issue of Symbolic Interaction to assist student learning about music in everyday life. I show how the study abroad program focused on the conceptual, methodological, and substantive significance of music practices in everyday life. I also show how including the special issue of Symbolic Interaction with more general scholarship on music, culture, and society, allowed students and me to share an in-depth, collaborative focus on interactionism that would not be so easily achieved in a normal classroom setting. I close by commenting on the program's impact on students’ conceptions of self.