While each study was different the outcomes broadly found that Musical Futures increased:
Student attitudes toward music
Student self-esteem in relation to music
Student engagement with music
Levels of musical attainment
Attitudes and outputs from group work
General in class behaviour
Increased skills and satisfaction amongst teachers
Teachers Application of Arts Rich Practice
A fourth study was undertaken by the CASS Foundation and the University of Melbourne and this investigated the potential of the Musical Futures professional developmental model in establishing sustainable networks - in this case in regional Victoria. The report, Teachers Application of Arts Rich Practice is now available to download.
• A sample of those teachers who have implemented the strategies have noted very positive outcomes for themselves and their students. • The access to free online materials and networks, and the collegial community via social media have been important factors in the support and mentoring process and sustaining the momentum amongst teachers. • The school executive support for the professional learning workshop and subsequent implementation was noted in the continued success of the program in schools. • The Musical Futures professional learning model embodies many aspects of the best practice model proposed by the Australian Institute for Teaching and School Leadership. • The Musical Futures model of immersion in music making and modeling pedagogy acquaints, or reacquaints teachers with the concept of “participatory” music (Turino, 2008) as a starting point for classroom music and acknowledges ongoing research in developing confidence to teach music (Jeanneret, 1997; Jeanneret & Stevens-Ballenger, 2013).
The development of the Informal Learning pedagogies that lie at the heart of the Musical Futures approach was led by Professor Lucy Green of University College London. Musical Futures takes the central characteristics of informal music learning methods as described by Green and adapts them to classroom environments. This change in teaching’ approaches resulted in a rise in student motivation (Hallam et al. 2008, Jeanneret et al. 2011, Wright 2011).
Subsequently, Green developed similar pedagogial approaches for the specialist instrumental lessons which is called Listen, Hear, Play!
Further reading on informal learning
2014, Listen, hear, Play! How to Free Your Students Aural, Improvisation and Performance Skills, London: Oxford University Press (156 pp) ISBN: 9780199995769
2008, Music, Informal Learning and the School: A New Classroom Pedagogy, London and New York: Ashgate Press
2001/02, How Popular Musicians Learn: A Way Ahead For Music Education, London and New York: Ashgate Press (238 pp); ISBN 0 7546 0338 5 (hardback); issued in 2002 as paperback; re-printed 2003, 2005, 2008