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The purpose of this exploratory research study was to compare anxiety and depression levels reported by music majors and nonmajors at a small, private liberal arts university. Study participants completed the Burns Anxiety Inventory and Burns Depression Checklist. Anxiety and depression levels were significantly higher among music majors, and there was a strong, positive relationship between anxiety and depression. Regardless of major, self-reports were not affected by year in school. Implications for additional mental health resources and strategies for improving music major health and self-care are discussed, along with a need for increased music faculty awareness of perceived anxiety and depression leading to modified programs of study.

For music teachers to be most effective, they must possess the dispositions that best facilitate their students’ learning. In this article, we present and discuss the findings of a study in which we sought to explore music majors’ self-appraisals in and the extent to which they value the disposition areas of reflectivity, empathic caring, musical comprehensiveness, and musical learnability orientation. Evidence from a survey of 110 music majors suggested that music education students possess and value the dispositions of reflectivity, musical comprehensiveness, and musical learnability orientation more highly after they have matured through their college careers. Additionally, based on their responses to music teaching scenarios, it appears that senior music education majors possess greater empathic caring than do their freshman counterparts.

This article explores a comprehensive, student-centered alternative to traditional ensemble instruction with the goal of promoting better opportunities for musical independence and lifelong musicianship. Developed by Caron Collins from the Crane School of Music at the State University of New York-Potsdam, the Curious, Collaborative, Creativity (CCC) concept fosters student-centered learning and the promotion of 21st-century skills by encouraging students to select, arrange, and compose the repertoire to be studied; to work together in teams to equally contribute to the learning/understanding of music; and to share their work through informances to engage and enlighten community members. Examples from a current ensemble practicing CCC ideas illustrate the implementation of the model and provide suggestions for music educators.

This article describes the inclusive experience of a student with visual impairment in secondary band settings. Information obtained from students with visual impairments who have experienced active participation in school music ensembles may provide much-needed insight into instructional strategies that could improve inclusion. Many music educators believe they lack adequate resources and training in including students with visual impairments. Therefore, a deeper understanding of the experience of participating in secondary performing ensembles from the viewpoints of students can help guide the efforts of those involved in their music education.