We address the bene ts and challenges of using an arts-informed response in an undergraduate teacher education course from the perspective of a teacher and two students. Feminist pedagogies provide the theoretical lens through which our experiences are analyzed. From the teacher’s perspective, this arts-informed approach modeled to pre-service teachers how they could use arts-informed inquiry in their future classrooms, to engage in conscious raising about inequality, while meeting di erent learning styles in their classrooms. From the students’ perspective, it was surprising to be invited to do an arts-informed reading response. Acceptance depended on the perception of risk. Our conclusion is that more space should be created for arts-informed approaches in undergraduate teacher education programs.

Experiential learning is an educational approach that has been associated with different fields including music education, but rarely with philosophy. Our project consisted of a philosophical experience in action using the work of the Canadian composer R. Murray Schafer. In his Soundscape concept, all sounds in an environment become part of the music that surrounds us. Pre-service student teachers were introduced to his philosophy of music education through experiential learning rather than through a traditional lecture. Additionally, we followed three of them as they taught grades 3, 9 and 11. Our goal was to see to what extent experiential learning of philosophy could be an appropriate pedagogical tool in higher education. Our research question was: How can student-teachers construct their own understanding of a philosophy of music education after having experienced it from the perspective of a student and of a teacher? The following data were examined through collaborative thematic analysis of 1) an open question, 2) their own music composition following Shafer's guidelines, and 3) their experience of teaching the children. Participants were able to explain in their own words the main components of Shafer's view on music education, they described how they could use this vision in their own teaching and they identified specific outcomes (creativity, freedom, motivation and critical thinking) from using this approach. The conclusion was drawn that the experiential learning framework can be an appropriate tool for instructing topics that have traditionally been seen as purely theoretical.