Music performance anxiety (MPA), a condition common among musicians, consists of an anxious state characterized by cognitive, psychological, and physiological arousal. Musicians often establish strategies for coping with MPA. The aim of the current study is to analyze the correlation between MPA factors and coping strategies, and to determine the relevance of coping strategies and other variables, such as gender, experience, and weekly hours of individual music practice, in predicting MPA. Data on MPA and coping strategies were collected using two questionnaires: the Performance Anxiety Inventory (PAI) and the Coping Orientation to Problems Experienced-New Italian Version (COPE-NVI). The participants were 171 musicians divided into the following two groups: 97 advanced music conservatory students and 74 professional musicians. The results indicate that coping strategies based on demand of social support and avoidance strategies have a positive correlation with MPA. Advanced students reported higher levels of MPA than professional musicians. In addition, regression analysis provides evidence that variance in MPA can be explained in part by experience (professional musicians versus advanced students), hours of individual practice per week and coping strategies based on social support and avoidance strategies. The findings underscore the importance of understanding processes involved in MPA and the need to learn adaptive strategies for coping with stressful events.

Purpose: The purpose of this paper is to present a professional development experience for higher education academic staff within the framework of an international Tempus project focused on reorienting university curricula to address sustainability. The project included revising curricula to phase sustainable development principles into university courses. Design/methodology/approach: A qualitative approach was used to examine perceived professional development. Focus groups have been conducted with the academic staff who participated in the project. Findings: The results provided evidence that revising their curricula offered the participants an opportunity to discuss different principles, teaching methods, didactic processes and practices in Education for Sustainable Development (ESD). Several strategies emerged during curricula revision such as a positive attitude towards meta-cognitive strategies and a goal-oriented approach to curriculum planning. Moreover, the project induced the academic staff to reconsider their teaching methods. Research limitations/implications: The main limitation is the restricted generalisability of the findings, because of the small number of participants. Further research is needed to confirm the theoretical model that emerged. Implications of the results for professional development and the induction of change in academic staff are also discussed. Originality/value: There is little information about training experiences for enhancing professional development in academic staff using ESD principles, and this study provides a starting point. According to the results, the project had an impact on the participants’ attitudes, teaching principles and methods, course design skills and assessment approaches.

Metacognition is a key component of musical performance. Metacognitive knowledge and skills are fundamental for musicians at all stages of their academic and professional career to allow them to structure, monitor, assess and, if needed, revise practice sessions toward specific performance goals. Research in music education has highlighted the impact that metacognition has on enhancing musical performance and the learning processes that characterize it. Expert musicians usually show a high level of metacognitive competence, which allows them to effectively self-regulate their learning activity while preparing for a performance. While professional musicians seem to have a wide range of learning strategies and skills, music students are not always aware of the importance of adopting a metacognitive approach in their learning process. In addition, the metacognitive dimension is not always explicitly addressed during music lessons, leaving students to adopt inefficacious learning strategies, or to repeatedly use sets of strategies in an incorrect manner. The aim of the current paper is to present and discuss the most recent studies on metacognition in music performance from an educational perspective that focuses on process as well as results. The role of metacognitive competence in musical activity will be discussed, first by examining the components of the metacognitive competence exhibited by expert musicians, and then by focusing on the impact of metacognition on music students' learning. Educational implications for enhancing the learning experience of young musicians will also be discussed.

The current study analysed teachers’ methodologies, practices and needs to promote the integration of newly arrived migrant/refugee pupils in educational contexts. Twentynine Italian primary and middle school teachers answered a qualitative survey analysed with ATLAS.ti software. In analysis, seven categories emerged: teaching values and beliefs; students’ cognitive, emotional, and linguistic skills; inclusive class activities and resources; intercultural communication; social interactions in classroom; networking with the local community; and teachers’ needs. Teaching strategies and methods reported included inclusive approaches for supporting the integration of migrant/refugee students and promoting the well-being of the whole class. Creativity and flexibility emerged as two of the main features of teachers’ work. Further needs reported included training, didactic counselling, resources for supporting teaching, economic resources and school organisation. Evidence was found for the complexity of teaching in an intercultural context suggesting a multidimensional approach for analysing educational issues.

The profile of an effective instrumental and vocal music teacher includes many personal and professional dimensions. Among them, teacher self-efficacy plays a key role and influences the evaluation of music teachers’ effectiveness. Recent studies have identified several factors that affect one’s self-assessment of efficacy. However, a comprehensive model of the predictors of music teachers’ self-efficacy still does not exist. The aim of the current study was to identify factors that affect music teacher self-efficacy using a quantitative approach. Three self-report questionnaires were administered to 160 instrumental and vocal music teachers in Italy. Data about their beliefs on musical ability, teacher self-efficacy, and social skills were collected to define a predictive model of teachers’ self-efficacy using a stepwise regression analysis. In addition, an ANOVA was performed to examine group differences in music teacher self-efficacy and intercorrelations among questionnaire scales were computed. The findings have shown that a general score of music teacher self-efficacy can be predicted by a multidimensional model, including music teachers’ personal and professional traits, such as social skills, beliefs about musical ability, teaching experience, and gender. Moreover, differences in specific aspects of teacher self-efficacy emerged in relation to participants’ gender and level of expertise. The impact of these results on music teachers’ education is discussed.

The study examines the professional development of in-service advanced music teachers as a result of their participation in a three-year collaborative online course. A socio-constructivist theoretical framework was used for designing and implementing the course. Participants were 24 teachers (22 teaching instrumental music and 2 vocal music) enrolled in blended collaborative learning activities. A mixed research method was adopted for assessing the impact of the course on teachers’ attitudes and skills, including quantitative data (a close ended questionnaire about the quality of the online activities) and qualitative information (focus groups and interviews). Focus groups were conducted with teachers for collecting their satisfaction and perceived professional enhancement. School principals were interviewed to investigate perceived changes of teachers’ behaviours in their music schools. The findings highlighted the impact of the course for improving music teachers’ professional skills. Attending the course was an opportunity to discuss student-centred didactic principles, teaching methods, and practices in music education. Participants reported the development of a metacognitive attitude, a reflective teaching approach and a goal-oriented method to curriculum planning. The key factors that contributed to the effectiveness of the course as well as implications for designing professional learning activities for music teachers are also discussed.