Next Article in Journal
Revisiting Learning Styles in the Age of Generative AI: A Conceptual Framework for Regulation and Agency
Previous Article in Journal
Mathematics for the Arts and the Arts for Mathematics: Promoting Soft Skills Through the STEAM Approach in Early Childhood Education
 
 
Search for Articles:
Title / Keyword
Author / Affiliation / Email
Journal
Article Type
 
 
Advanced Search
 
Section
Special Issue
Volume
Issue
Number
Page
 
Journals
Education Sciences
Volume 16
Issue 8
10.3390/educsci16081208
education-logo
Submit to this Journal Review for this Journal Propose a Special Issue
► Article Menu

Article Menu

share Share announcement Help format_quote Cite question_answer Discuss in SciProfiles
first_page
settings
Order Article Reprints
Font Type:
Arial Georgia Verdana
Font Size:
Aa Aa Aa
Line Spacing:
Column Width:
Background:
Article

Understanding Teacher Professional Development in Social Music Projects: Experiences from the Spanish Context

by
Ruth Llopis-Cuenca
1,*,
Iskandar Rementeria
2,
Cristina Arriaga
2 and
Arecia Aguirre
1
1
University Institute of Education Sciences, University Jaume I, 12071 Castelló de la Plana, Spain
2
Department of Musical, Visual Arts and Physical Education, University of the Basque Country, 48940 Leioa, Spain
*
Author to whom correspondence should be addressed.
Educ. Sci. 2026, 16(8), 1208; https://doi.org/10.3390/educsci16081208
Submission received: 28 May 2026 / Revised: 24 July 2026 / Accepted: 26 July 2026 / Published: 29 July 2026
Versions Notes

Abstract

This study explores how teachers working in social music projects in Spain understand their professional development and which elements they identify as central to their learning processes. Although teacher professional development (TPD) has been widely studied in formal music education contexts, less is known about how it unfolds in socially oriented and community-based settings. The study adopts a qualitative design based on in-depth semi-structured interviews with seven music teachers involved in social music projects across Spain. Data were analysed using qualitative content analysis to identify recurring themes and patterns in participants’ accounts. The findings show that teachers understand professional development as an ongoing and situated process closely linked to their daily practice. Experiential learning, adaptation to uncertainty, collaboration with others, and continuous reflection emerge as key elements in their development. In addition, participants highlight the importance of expanding beyond strictly musical training to include pedagogical, social, and relational competences. These results suggest that professional development in social music projects differs from more traditional models by emphasising context, experience, and community engagement. The study contributes to current discussions on music teacher development by highlighting the need for more flexible, collaborative, and context-sensitive approaches to TPD.

1. Introduction

Teacher professional development (TPD) has been widely recognised as a key factor in improving the quality of teaching and learning across educational contexts (Bautista et al., 2017; Hutchings & Shulman, 1999). In music education, a growing body of research has explored how teachers develop professionally through a combination of formal training, practical experience, and collaboration with others (Bautista et al., 2018; Conway et al., 2023). However, much of this research has focused on formal educational settings, such as schools or higher education institutions, while less attention has been paid to contexts in which music education is connected to broader social and community-oriented aims. Teacher professional development is understood in this study as an ongoing, situated process through which teachers construct their professional knowledge, skills, and identity over time. This process goes beyond formal training activities and includes experiential learning, reflection on practice, collaboration with others, and engagement with specific educational contexts (West & Bautista, 2022; Shaw, 2020). In addition, motivation has been identified as a key factor in teachers’ engagement with professional development processes (Angeline, 2014). From this perspective, TPD is not limited to structured courses or institutional projects, but emerges through teachers’ daily practice and their interaction with students, colleagues, and communities.
This study focuses on social music projects in Spain, understood as educational initiatives that combine musical learning with social, participatory, and community-oriented goals. These projects often operate across formal and non-formal settings and emphasise inclusion, participation, and the development of personal and social skills through music-making (Cabedo Mas, 2023; Higgins, 2012; Koopman, 2007). Within these contexts, teachers are required to navigate complex and diverse situations that may differ significantly from those found in more traditional music education environments.
Although previous studies have examined the characteristics of TPD in music education, little is known about how teachers working in social music projects understand their own professional development. In particular, there is a need to explore how these teachers interpret their learning processes and what kinds of experiences, knowledge, and conditions they consider meaningful in their professional trajectories.
The aim of this study is to analyse how teachers working in social music projects in Spain understand their professional development and to identify the key elements that shape their learning processes over time. To address this aim, the study is guided by the following research questions:
  • How do teachers working in social music projects in Spain understand meaningful professional development?
  • What experiences and forms of learning do these teachers identify as central to their professional development?

2. Literature Review

2.1. Teacher Professional Development in Music Education

Teacher professional development (TPD) in music education has been widely explored in recent decades, highlighting the importance of continuous and context-sensitive learning processes (Bautista et al., 2017; Conway et al., 2023). In both formal and non-formal settings, research has shown that effective professional development tends to involve long-term initiatives that combine theoretical knowledge with practical application in the classroom (Bautista et al., 2018).
Several studies emphasise the relevance of active learning, participation, and collaboration as key components of TPD. For instance, Barclift and MacLeod (2024) highlight the importance of reflective processes in teacher learning, showing how music teachers’ concerns evolve from task-oriented issues to a greater focus on students, pedagogy, and classroom dynamics. Similarly, research on teacher development trajectories indicates that early-career teachers tend to focus on technical and organisational aspects, while more experienced teachers increasingly prioritise student learning and pedagogical decision-making (Conway, 2001, 2003, 2012, 2014; Ramsey et al., 2024).
In primary music education, teachers often report feelings of professional isolation and identify challenges related to classroom management, student engagement, and the lack of adequate resources (Angel Alvarado et al., 2020; Ocaña, 2006;). In this context, in-service training focused on both musical and pedagogical knowledge, as well as opportunities for exchange and collaboration, is considered particularly valuable (Ocaña, 2006). However, there is also a growing consensus that “one-size-fits-all” models of professional development are insufficient, and that training should be adapted to the diverse profiles and needs of teachers (Bautista et al., 2018).
Research has also pointed out differences in teachers’ motivations and engagement with professional development. For example, generalist teachers may show lower motivation to participate in specialised music training and tend to rely more on informal learning with peers (Bautista et al., 2018). In contrast, teachers working in conservatories and specialised institutions often require support in areas such as curriculum design, evaluation, and administrative tasks, particularly in the early stages of their careers (Conway, 2001, 2003).
Despite these advances, several authors have highlighted persistent limitations in traditional models of TPD in music education. These include an excessive focus on individual learning, limited opportunities for collaboration, and a lack of alignment between training offers and teachers’ actual needs and motivations (Angeline, 2014; Bautista, 2020). In this sense, recent research advocates for more flexible, collaborative, and context-sensitive approaches that allow teachers to actively engage in their own professional learning processes (Knapp, 2024; Shaw, 2020; West & Bautista, 2022).

2.2. Social Music Projects as a Context for Professional Development

Within this broader landscape, social music projects represent a specific educational context that combines musical learning with social, participatory, and community-oriented goals. These projects often operate across formal and non-formal settings and prioritise active participation, inclusion, and the development of personal and social skills through music-making (Higgins, 2012; Koopman, 2007; Veblen, 2007).
Unlike more traditional approaches focused on technical and instrumental training, social music projects emphasise processes such as improvisation, composition, and collective music-making, as well as the importance of adapting teaching practices to the needs and characteristics of diverse groups (Cabedo-Mas et al., 2023; Quigley & MacDonald, 2022). In these contexts, musical learning is closely linked to broader educational aims, including social inclusion, community engagement, and the development of critical and reflective capacities (Cabedo Mas, 2023; Higgins, 2013, 2020). In short, these projects are defined by Boeskov (2019) as collaborative projects that use music to promote equity, social justice, peace-building, well-being and social transformation.
The role of the teacher in these projects also differs from that found in more formal settings. Teachers are often described as facilitators, mediators, or educo-artists, responsible for creating participatory learning environments and fostering relationships based on trust, respect, and collaboration (Serra Sangüesa, 2023; Vega et al., 2023). This role requires not only musical expertise, but also a range of pedagogical, social, and relational competences that enable teachers to respond to complex and evolving situations.
In this sense, social music projects may offer a particularly relevant context for rethinking teacher professional development. Their emphasis on participation, collaboration, and contextual adaptation suggests that professional learning in these settings may differ from more traditional models, being more closely linked to experience, interaction, and community engagement.
However, despite their growing presence and educational relevance, there is still limited research on how teachers working in these projects understand and construct their own professional development. This study addresses this gap by exploring teachers’ perspectives on their learning processes within social music projects in the Spanish context.
Recent research on music teacher professional development has highlighted the importance of context, collaboration, reflection, and professional practice in teachers’ learning processes (Conway et al., 2023; Shaw, 2020; West & Bautista, 2022). From this perspective, professional development cannot be understood only as participation in formal training activities, but also as an ongoing process shaped by teachers’ everyday work, their interaction with others, and the specific educational situations in which they are involved. This perspective is particularly relevant for social music projects, where teaching takes place in dynamic, participatory, and community-oriented settings. Examining how teachers understand their professional development in these contexts can therefore contribute not only to music education research, but also to broader discussions on teacher learning as a situated, relational, and practice-based process.

3. Materials and Methods

This study adopts a qualitative research design aimed at exploring how teachers working in social music projects understand their professional development. A qualitative approach is appropriate for capturing participants’ perspectives, experiences, and meanings in depth, particularly in socially situated and context-dependent educational settings.
Data were collected through in-depth semi-structured interviews, allowing participants to reflect on their professional trajectories, learning experiences, and teaching practices. Although the study draws on participants’ experiences over time, it does not aim to construct full life histories, but rather to identify shared patterns and meanings across their accounts.

3.1. Participants

The sample consisted of seven music teachers working in social music projects across Spain. Participants were selected through purposive sampling based on the following criteria: (1) involvement in social music projects with a recognised social and educational orientation; (2) active teaching role within the project; and (3) experience in working with diverse groups and community-based contexts.
The projects were accessed through existing professional networks, which facilitated contact with participants who met the selection criteria. The selected projects (Table 1) shared a common focus on combining musical learning with social and community-oriented goals.
Therefore, as we are focusing on the teacher professional development of the teachers participating in the projects mentioned above, we consider it important for understanding their narratives, experiences and career paths to set out in Table 2 the participants’ ages, their years of teaching experience, the contexts in which they have been able to develop professionally, and their years of experience in music social projects.

3.2. Data Collection

Data were collected through semi-structured interviews conducted online, according to participants’ availability and geographical location. Each interview lasted between 90 and 120 min.
The interview protocol was developed collaboratively by the research team and informed by previous literature on music teacher development and social music projects. The interviews explored topics such as participants’ professional trajectories, significant learning experiences, perceptions of their professional development, and the role of social and community contexts in their teaching practice.
All participants were informed about the aims of the study and provided informed consent prior to participation. Interviews were recorded and transcribed verbatim. Transcripts were returned to participants for review and validation.

3.3. Data Analysis

We used the interview transcripts as data for this study. The data were analysed collaboratively by the members of the research team. Different team members were involved in the various stages of the analysis, and all decisions relating to coding were discussed until a consensus was reached.
Our aim was to understand music teachers’ professional development within a specific context, namely that of teachers involved in music social projects in Spain. Our analysis was based on qualitative content analysis, where categories are used to structure the content, generate types and evaluate statements (Kuckartz & Rädiker, 2019). In our case, following transcription, the interviews were coded inductively to identify recurring themes and patterns related to teachers’ professional development.
The analysis was carried out in two stages. First, an initial coding process was undertaken to generate broad categories. For this purpose, the interview transcripts were read and, as the process progressed, sections of the text were identified that reflected the research objective. In this way, meaningful fragments were identified which, when compared with one another to identify similarities and differences, enabled the initial codes to be established. Following the initial coding and adopting a consistent comparative approach, two researchers from the team met periodically to, firstly, group these initial codes into units of meaning and, subsequently, to group these into broader categories. By continuously reviewing the categories against the interviews and checking that each category corresponded to the coded fragment, a process was carried out to merge similar categories and split extensive categories, as well as redefining the names where necessary. In this way, the reasoning was discussed and the coding framework was defined, taking the objectives into account.
In a second stage, the aim was to refine these categories into more specific subcategories (Table 3), as various nuances emerged that needed to be distinguished and which captured key aspects of the participants’ experiences and perspectives. To this end, the interviews and initial categories were constantly referred to.
Furthermore, during the interpretative phase of the analysis, the relevant literature on teachers’ professional development in music education was taken into account, which helped to better understand and articulate the relationships between categories and subcategories. Thus, to enhance the credibility and analytical consistency of the analysis, the preliminary analyses were shared with the other two members of the research team. Their contributions provided coherence and relevance to the emerging themes by offering further possible interpretations. Consequently, the final categories and subcategories were agreed upon through discussion and consensus among all members of the research team.
The software Atlas.ti (version 24) was used to support the management, organisation and coding of the data.

3.4. Ethical Considerations

All participants signed an informed consent form and agreed to the recording and use of the data for research purposes. Confidentiality and anonymity were guaranteed. Participants are identified in the findings using numerical codes (e.g., Participant 1, Participant 2).

4. Results

The findings are organised into five interconnected themes that reflect how teachers working in social music projects understand and experience their professional development. These themes should not be interpreted as isolated categories, but as overlapping dimensions of a situated and evolving process of professional learning.

4.1. Professional Development as an Ongoing and Reflective Process

Participants consistently described professional development as a continuous, open-ended process that extends throughout their professional lives. Rather than being associated with specific training events or formal qualifications, development was understood as something that is constantly reconstructed through practice and reflection.
“We are training throughout our entire lives, so I’ll keep training. There won’t be a moment when I say ‘ok, I already know everything’”
(Participant 1)
This idea of permanence was closely linked to a reflective stance toward one’s own training trajectory. Participants emphasised the need to critically revisit what they had learned in previous stages and to decide what to retain, transform, or discard.
“[Training] is an internal listening, a framework in which you can define and restructure yourself… what you want to keep cultivating, what you want to re-learn”
(Participant 4)
In this sense, professional development was not conceived as the accumulation of knowledge, but as a process of ongoing reinterpretation. This involved questioning not only technical aspects of training, but also its purposes and underlying values.
“But nobody had asked me ‘why do we do this?, what motivates you and what doesn’t?’… It’s important to go a little bit beyond”
(Participant 7)
This reflective dimension suggests that teachers in social music projects actively construct meaning around their professional development, rather than simply adopting externally defined models.

4.2. Learning Through Experience and Navigating Uncertainty

A central theme in participants’ accounts was the importance of experiential learning. Teachers repeatedly stressed that their most significant learning took place in practice, particularly when dealing with unexpected or complex situations in the classroom.
“I’d say that what I’ve learnt the most from is everyday experience… being in the classroom and facing situations that you’d never expect”
(Participant 3)
Learning was frequently described as a process of trial and error, in which knowledge emerges gradually through action.
“I think that my evolution has been quite great… everything has been a trial-error of processes and learnings”
(Participant 1)
Participants also highlighted that many of the challenges they face cannot be anticipated through formal training, especially in socially diverse and dynamic contexts.
“I believe that there is no training that really works… in the end, you find yourself there”
(Participant 2)
This emphasis on uncertainty reveals a key feature of professional development in these projects: the need to respond to situations that are not fully predictable or standardised. As a result, professional knowledge is constructed in action and adapted to specific contexts, rather than applied mechanically from prior training.

4.3. Professional Development as a Relational and Collective Process

Another central finding is the strongly relational nature of professional development. Participants described their learning as deeply connected to interactions with other people, including colleagues, participants, and members of the community.
“I believe that it was rather the personal journey and the people I have met… a reading, a trip, a person you admire… or with the participants themselves”
(Participant 4)
In this sense, learning was not limited to formal exchanges between professionals, but extended to all kinds of encounters that shaped their perspectives and practices.
Participants also emphasised the importance of collaboration and group cohesion in their work:
“In the end, cohesion and communication are two aspects that have resonated in me… making a group is a basic element”
(Participant 7)
Working with others was described not only as a practical necessity, but as a fundamental condition for professional growth.
“Sometimes, you have to join other people… the grandeur of these projects is in transcending one’s own limits and those of others”
(Participant 4)
These accounts suggest that professional development in social music projects is inherently collective, emerging through shared experiences, dialogue, and co-construction of practices.

4.4. Expanding Professional Knowledge Beyond Musical Expertise

While participants recognised the importance of musical training, they consistently stressed that it was not sufficient for their work in social music projects. Professional development was described as requiring a broader set of competences that go beyond instrumental or technical knowledge.
“This instrumental training is also important… you end up with a technique that allows you to transmit those concepts”
(Participant 1)
However, this technical foundation was complemented by the need to develop pedagogical, social, and relational skills.
“Tools or skills to favour coexistence, social inclusion… conflict resolution, listening skills, creativity and flexibility…”
(Participant 7)
Participants also described how their understanding of music itself had expanded through their professional experiences, incorporating movement, expression, and alternative forms of engagement.
“I would’ve said that they are playing all the notes… and then you discover a wider perspective… they can move, they can dance!”
(Participant 3)
This shift reflects a move away from a purely technical conception of music education toward a more holistic and context-sensitive approach, in which musical, social, and educational dimensions are intertwined.

4.5. Reflection, Research, and the Construction of Professional Meaning

Finally, participants highlighted the importance of reflection and engagement with theoretical and research-based knowledge as part of their professional development. These processes were described as helping them make sense of their practice and giving greater coherence to their work.
“Being in contact with certain readings provides you with a critical spirit… you’re always alert and analyse things”
(Participant 6)
In some cases, participants reported that engaging with research allowed them to recognise and name practices they had already developed intuitively.
“It has also happened to me that I’ve theorised many things, eventually discovering that they already existed… it’s very inspiring”
(Participant 2)
Reflection was also linked to increased confidence and professional legitimacy:
“The training and research I’ve carried out have given me greater confidence… this provides you with more soundness”
(Participant 4)
In this sense, research and reflection are not perceived as external to practice, but as integral elements in the construction of professional meaning and identity.

5. Discussion

The findings of this study suggest that teachers working in social music projects understand teacher professional development (TPD) as an ongoing process constructed through practice rather than primarily through participation in formal training activities. Participants described professional learning as emerging from experience, reflection, collaboration, and adaptation to the diverse situations encountered in their everyday work. This interpretation is consistent with perspectives that emphasise the situated, relational, and practice-based nature of teacher learning, as well as the importance of context, professional practice, and collaborative reflection in professional development processes (Conway et al., 2023; Shaw, 2020; West & Bautista, 2022). At the same time, the findings suggest that these dimensions acquire a particular configuration in social music projects because they are closely connected to broader pedagogical, social, and community-oriented aims.
A first point of interpretation concerns experience as a central source of professional learning. Participants consistently described learning as emerging from practice itself, particularly through dealing with uncertainty and adapting to diverse teaching situations. This finding resonates with Perrenoud’s (2001) understanding of professional competence as the capacity to act in complex and unpredictable contexts. Within participants’ accounts, uncertainty was not described merely as an occasional difficulty, but as a recurring feature of their work with diverse groups, changing circumstances, and educational aims that extend beyond musical learning. In this setting, adaptation appears to operate not only as a practical response to particular situations, but also as a means of constructing professional knowledge through action and reflection on experience.
The results also highlight the relational and collaborative dimensions of professional development. Participants described learning as being constructed through interaction with colleagues, participants, families, and the wider community. This challenges individualistic understandings of professional development and supports calls for more collaborative and network-based approaches (Knapp, 2024; Shaw, 2020). In contrast to previous research identifying a limited-teamwork culture among music teachers (Ocaña, 2006), participants in this study presented collaboration as a central feature of their professional growth. What appears distinctive in this setting is that collaboration is not simply an additional professional development strategy. The emphasis placed by social music projects on participation, inclusion, and community engagement makes collaboration and shared responsibility integral to teaching practice. Relationships with others therefore function not only as organisational conditions for carrying out the work, but also as relevant sources of professional learning.
Another relevant finding concerns the expansion of professional knowledge beyond strictly musical training. Although participants recognised the importance of instrumental and musical expertise, they also emphasised the need for pedagogical, social, and relational competences. This reflects the demands of social music projects, where teaching involves not only musical instruction but also, participation, inclusion, conflict management, and group dynamics (Bonastre Vallés & Muñoz, 2013; Cabedo Mas, 2023; Higgins, 2012). In this sense, the study supports broader perspectives on music education that advocate for more holistic and socially engaged approaches. This leads us to understand music as the means rather than the end goal (Ortiz-Cortés & Alonso-Castro, 2026).
Furthermore, reflection and engagement with research emerged as relevant elements in participants’ professional development. Teachers described how theoretical knowledge and academic literature allowed them to name, interpret, and strengthen practices that had often been developed through experience. This finding contributes to discussions concerning the relationship between research and practice in music education, suggesting that research becomes professionally meaningful when it helps teachers understand, articulate, and critically reconsider their own work (Checa, 2017; Pérez Botello et al., 2024). From this perspective, reflection and research are not external additions to practice, but processes through which experiential knowledge can be reconstructed and given greater coherence.
Taken together, these findings suggest that the contribution of this study does not lie in identifying entirely new components of teacher professional development. Experience, collaboration, reflection, adaptation, and continuous learning have already been recognised in previous research. Rather, the contribution lies in showing how these dimensions are combined and given meaning within social music projects. What appears distinctive in this setting is the close interconnection between musical, pedagogical, relational, and social forms of learning, shaped by the diversity of the situations encountered, the collaborative nature of teaching, and the social and community-oriented aims of the projects. Professional development therefore emerges as a contextualised process constructed through participation in practice and engagement with others. Although this interpretation is grounded in music education, it may also contribute to understanding professional learning in other educational settings characterised by diversity, collaboration, uncertainty, and strong community engagement.

6. Conclusions

This study has explored how teachers working in social music projects in Spain understand their professional development. The findings indicate that professional development is experienced less as participation in discrete formal training activities, than as an ongoing and situated process constructed through everyday practice.
Experience, adaptation to uncertainty, collaboration, and reflection play a central role in this process. At the same time, the demands of social music projects lead teachers to combine musical expertise with pedagogical, social, and relational competences, as musical learning is closely connected to participation, inclusion, and community engagement.
The contribution of the study lies not in identifying entirely new components of teacher professional development, but in showing how these dimensions become interconnected and acquire particular meaning within social music projects. In these contexts, professional learning is shaped by the diversity of the situations encountered, the collaborative nature of teaching, and the social and community-oriented aims of the projects. Professional development initiatives in comparable settings may therefore benefit from combining musical and technical training with opportunities for collaborative reflection, the exchange of experience, and the development of pedagogical, social, and relational capacities. Although the study is grounded in music education, this perspective may also be relevant to other educational contexts characterised by diversity, collaboration, uncertainty, and strong community engagement.
Overall, the findings highlight that professional development in social music projects is shaped by a collective and community-oriented understanding of teaching, in which learning emerges through relationships, shared practice, and responsibility towards others.

Limitations

This study has several limitations that should be considered when interpreting the findings. First, the participants differed considerably in terms of age, teaching experience, years of involvement in social music projects, and professional trajectories. These differences may have influenced how participants interpreted and narrated their experiences, as well as the teaching strategies and approaches they described. In addition, participants had developed professionally in diverse educational and social contexts, which may also have shaped their understandings of professional development. Furthermore, two of the seven participants originated from countries other than Spain, and their previous educational, cultural, and professional experiences may have contributed to differences in perspective.
Second, the findings cannot be statistically generalised due to the small and non-representative nature of the sample. However, the aim of this study was not to produce generalisable results, but rather to gain an in-depth understanding of teachers’ professional development within a specific context, namely social music projects in Spain. Consequently, the findings should be understood as context-dependent and interpreted in relation to the particular characteristics of the participants and projects involved. Future research could explore similar processes in other regions and countries in order to examine the extent to which these findings are transferable to different educational, cultural, and social contexts.
Finally, the study focused exclusively on the perspectives of teachers involved in these projects. Although this decision was consistent with the aims of the research, it may have limited the range of viewpoints considered. Future studies could incorporate the voices of participants, families, programme coordinators, and other stakeholders in order to develop a more comprehensive understanding of teacher professional development within social music projects and to identify additional challenges, needs, and opportunities associated with teaching practice.

Author Contributions

Conceptualization, R.L.-C., and A.A.; methodology, R.L.-C., A.A., and C.A.; formal analysis, R.L.-C., C.A., and I.R.; data curation, R.L.-C.; writing—original draft preparation, R.L.-C.; writing—review and editing, C.A., and I.R. All authors have read and agreed to the published version of the manuscript.

Funding

This research was funded by Conselleria d’Educació, Cultura, Universitats i Ocupació (Generalitat Valenciana), grant number CIACIF/2023/319 co-financed under the European Union. Also, this work was supported by the Spanish Ministry of Science and Innovation, under Research Project PID2023-152587OB-I00, by the ‘European Union NextGenerationEU/PRTR’.

Institutional Review Board Statement

The study was approved by the Ethics Committee of the University Jaume I (protocol code CEISH/57/2024) on 14 October 2024.

Informed Consent Statement

Informed consent was obtained from all subjects involved in the study. Besides, written informed consent has been obtained from the participants to publish this paper.

Data Availability Statement

The data that support the findings of this study are available from the corresponding author upon reasonable request.

Conflicts of Interest

The authors declare no conflicts of interest.

Abbreviations

The following abbreviation is used in this manuscript:
TPDTeacher professional development

References

  1. Angel Alvarado, R., Belletich, O., & Wilhelmi, M. R. (2020). Isolation at the workplace: The case of music teachers in the Spanish primary education system. Music Education Research, 23(3), 300–310. [Google Scholar] [CrossRef] [Scilit]
  2. Angeline, V. R. (2014). Motivation, professional development, and the experienced music teacher. Music Educators Journal, 101(1), 50–55. [Google Scholar] [CrossRef] [Scilit]
  3. Barclift, K., & MacLeod, R. B. (2024). Exploring preservice music teachers’ self-reflections: A comparison of immediate and video reflections. Journal of Music Teacher Education, 33(3), 29–43. [Google Scholar] [CrossRef] [Scilit]
  4. Bautista, A. (2020). Formación y desarrollo profesional en docentes de interpretación musical: Propuestas para cambiar concepciones y prácticas. In M.-P. Pérez-Echeverría, G. López-Íñiguez, J. I. Pozo, & J. A. Torrado (Coord.), Aprender y enseñar música. Un enfoque centrado en los alumnos (pp. 381–410). Ediciones Morata. Available online: https://edmorata.es/producto/aprender-y-ensenar-musica-un-enfoque-centrado-en-los-alumnos/ (accessed on 17 December 2025).
  5. Bautista, A., Toh, G. Z., & Wong, J. (2018). Primary school music teachers’ professional development motivations, needs, and preferences: Does specialization make a difference? Musicae Scientiae, 22(2), 196–223. [Google Scholar] [CrossRef] [Scilit]
  6. Bautista, A., Yau, X., & Wong, J. (2017). High-quality music teacher professional development: A review of the literature. Music Education Research, 19(4), 455–469. [Google Scholar] [CrossRef] [Scilit]
  7. Boeskov, K. (2019). Music and social transformation. Exploring ambiguous musical practice in a Palestinian refugee camp [Doctoral thesis, Norwegian Academy of Music]. Available online: http://hdl.handle.net/11250/2630088 (accessed on 12 December 2025).
  8. Bonastre Vallés, C., & Muñoz, E. (2013). La expresividad en la música. Quodlibet: Revista de Especialización Musical, 52, 40–52. Available online: https://hdl.handle.net/10017/43750 (accessed on 19 December 2025).
  9. Cabedo Mas, A. (2023). La música crea comunidad: Experiencias y reflexiones desde proyectos sociales educativos. Editorial Graó. [Google Scholar]
  10. Cabedo-Mas, A., Moliner-Miravet, L., Campayo-Muñoz, E., Macián-González, R., & Arriaga-Sanz, C. (2023). Impact of group music-making on social development: A scoping review. Journal for the Study of Education and Development, 46(2), 352–384. [Google Scholar] [CrossRef] [Scilit]
  11. Checa, R. (2017). Cambio de modelo en la formación del profesorado de las enseñanzas de Música. Revista Electrónica de LEEME, 14, 1–11. Available online: https://turia.uv.es/index.php/LEEME/issue/view/723 (accessed on 12 December 2025).
  12. Conway, C. (2001). Beginning music teacher perceptions of district-sponsored induction programs. Bulletin of the Council for Research in Music Education, 151, 51–62. Available online: https://www.jstor.org/stable/40319117 (accessed on 19 December 2025).
  13. Conway, C. (2003). An examination of district-sponsored beginning music teacher mentor practices. Journal of Research in Music Education, 51(1), 372–391. [Google Scholar] [CrossRef] [Scilit]
  14. Conway, C. (2012). Ten years later, experienced teacher reflections on “Beginning music teacher perceptions of district- sponsored induction programs”: Ten years later. Bulletin of the Council for Research in Music Education, 193, 63–76. [Google Scholar] [CrossRef] [Scilit]
  15. Conway, C. (2014). Beginning music teacher mentor practices: Reflections on the past and suggestions for the future. Journal of Music Teacher Education, 24(2), 88–102. [Google Scholar] [CrossRef] [Scilit]
  16. Conway, C., Stanley, A. M., & Bautista, A. (2023). Estrategias para mejorar la formación del profesorado de música: Una visión internacional. In A. Peñalba, & Y. Blanco (Eds.), En busca de recursos para el desarrollo profesional docente del profesorado de música: Acciones para el cambio (pp. 23–40). Octaedro. Available online: https://uvadoc.uva.es/handle/10324/68060 (accessed on 17 December 2025).
  17. Higgins, L. (2012). Community music: In theory and in practice. Oxford University Press. [Google Scholar]
  18. Higgins, L. (2013). Música comunitaria: Facilitadores, participantes y amistad. Revista Internacional de Educación Musical, 1(1), 53–59. [Google Scholar] [CrossRef] [Scilit]
  19. Higgins, L. (2020). Rethinking community in community music: The call, the welcome, and the ‘yes’. In Rethinking community through transdisciplinary research (pp. 231–246). Palgrave Macmillan. [Google Scholar] [CrossRef] [Scilit]
  20. Hutchings, P., & Shulman, L. (1999). The scholarship of teaching: New elaborations, new developments. Change: The Magazine of Higher Learning, 31(5), 10–15. [Google Scholar] [CrossRef] [Scilit]
  21. Knapp, E. J. (2024). “I want to be a better person and a better teacher”: Exploring the constructs of race and dis/ability in a music educator collaborative teacher study group. Journal of Music Teacher Education, 34(3), 9–28. [Google Scholar] [CrossRef] [Scilit]
  22. Koopman, C. (2007). Community music as music education: On the educational potential of community music. International Journal of Music Education, 25(2), 151–163. [Google Scholar] [CrossRef] [Scilit]
  23. Kuckartz, U., & Rädiker, S. (2019). Analyzing qualitative data with MAXQDA: Text, audio, and video. Springer. [Google Scholar] [CrossRef] [Scilit]
  24. Ocaña, A. (2006). Desarrollo profesional de las maestras de educación musical desde una perspectiva biográfico-narrativa. Revista Electrónica Complutense de Investigación en Educación Musical, 3, 1–14. [Google Scholar]
  25. Ortiz-Cortés, M., & Alonso-Castro, A. J. (2026). Narratives of teacher identities: An autobiographic study on teachers from children and youth orchestras in Mexico. Education Sciences, 16(2), 299. [Google Scholar] [CrossRef] [Scilit]
  26. Perrenoud, P. (2001). Ensinar: Agir na urgência, decidir na incerteza. Artmed Editora. [Google Scholar]
  27. Pérez Botello, B., Álamo Orellana, A., Viñas Pavón, M. F., & Lorenzo de Reizabal, M. (2024). Perspectivas docentes sobre el emprendimiento, la investigación y los proyectos interdisciplinares en los conservatorios superiores de música en España. In A. Vernia (Coord.), Investigación musical: Diferentes contextos y niveles educativos (pp. 136–156). Dykinson, S. L. [Google Scholar] [CrossRef] [Scilit]
  28. Quigley, H., & MacDonald, R. (2022). A qualitative study of an online makaton choir for individuals with learning difficulties. International Journal of Community Music, 15(1), 65–94. [Google Scholar] [CrossRef] [Scilit]
  29. Ramsey, N. K., Graham, H. B., Draves, T. J., & Brooks, D. (2024). A grounded theory of early preservice music teacher identity development. Journal of Research in Music Education, 72(4), 395–416. [Google Scholar] [CrossRef] [Scilit]
  30. Serra Sangüesa, L. (2023). Proyecto 4 cordes: Artesanía educativa para la transformación. In A. Cabedo (Coord.), La música crea comunidad. Experiencias y reflexiones desde proyectos sociales educativos (pp. 35–46). Editorial Graó. [Google Scholar]
  31. Shaw, J. T. (2020). Urban music educators’ perceived professional growth in a context-specific professional development program. Journal of Research in Music Education, 67(4), 440–464. [Google Scholar] [CrossRef] [Scilit]
  32. Veblen, K. (2007). The many ways of community music. International Journal of Community Music, 1(1), 5–21. [Google Scholar] [CrossRef] [Scilit] [PubMed]
  33. Vega, C., Alonso, T., Biscaglia, B., Brito, J., Brito, L., Brito, R., Cabrera, E., Cantallops, T., Cortés, J., Díaz, Á., Escobar, H., Gonçalves, J., González, L., Lorente, Á., Medina, A., Mendoza, C., Mushett, M., Ortega, A., Pulido, M., … Sullivan, A. (2023). Barrios orquestados: Desarrollo comunitario a través del encuentro musical. In A. Cabedo (Coord.), La música crea comunidad. Experiencias y reflexiones desde proyectos sociales educativos (pp. 47–60). Editorial Graó. [Google Scholar]
  34. West, J., & Bautista, A. (2022). Global perspectives on teacher professional development: Navigating the pandemic. International Journal for Research in Education, 46(2), 2–27. [Google Scholar] [CrossRef] [Scilit]
Table 1. Social Music Projects.
Table 1. Social Music Projects.
Social Music Project in Which She/He
Participated		Description of the Social Music Project
Acción por la música
(Madrid) 1		A project inspired by Venezuela’s El Sistema model, which uses youth orchestras and choirs as a tool for social inclusion.
It works with vulnerable children and young people by providing free musical training and socio-educational support.
Its aim is social inclusion and educational improvement through orchestral practice.
Basket Beat
(Cataluña) 2		A socio-educational project that uses body percussion and ball games in educational, social and prison settings.
Unlike projects focused on teaching musical instruments, it does not aim to train musicians, but rather to foster critical reflection on education, power and social relations. It is grounded in critical and decolonial pedagogies.
It also carries out training and research, positioning itself as an artistic and educational project for social transformation.
Barrios orquestados
(Islas Canarias) 3		A project that establishes orchestras and choirs in disadvantaged neighbourhoods, involving children, young people and families.
It differs from other models in its intergenerational and community-based nature, actively involving families in musical activities. Its approach aims to bring culture to neighbourhoods with limited access to it through stable orchestral structures.
4 Cordes
(Cataluña) 4		A school project that introduces string instruments into schools through collaboration between teachers, specialists and the local community.
Unlike projects run outside the school, this initiative is integrated into the education system as a curricular and community-based initiative, in which the school orchestra helps to strengthen social cohesion and a sense of collective identity.
Etorkizuna Musikatan
(País Vasco) 5		A project aimed at children and young people in challenging socio-economic circumstances.
It combines musical training in orchestras and choirs with individual and family support. What sets it apart is its holistic approach, which combines musical training with socio-emotional development in vulnerable communities.
La música del reciclaje
(Madrid) 6		A project for children at risk of social exclusion that combines orchestral training with instruments made from recycled materials.
It stands out for placing sustainability at its core, using recycling as a symbol of personal and social transformation.
Musiquem
(Castellón) 7		A school project that promotes string ensembles in schools, featuring the violin, viola and cello.
Unlike other models of music education, it is based on collaboration between teachers, specialists and resident artists, integrating music into formal school life as a collective activity that brings the school and the community together.
Note. Superscript numbers refer to the official websites of the projects, which are provided for readers wishing to obtain further information. 1 https://accionporlamusica.es/; 2 https://basketbeat.org/; 3 https://barriosorquestados.org/; 4 https://www.4cordes.com/; 5 https://www.etorkizunamusikatan.org/; 6 https://www.lamusicadelreciclaje.com/; 7 https://www.musiquem.uji.es/.
Table 2. Description of the research participants.
Table 2. Description of the research participants.
ParticipantSocial Music Project in Which She/He ParticipatedAgeYears of Teaching ExperienceContexts in Which They Have Been Able to Develop
Professionally		Years of Experience in Music Social Projects
1Acción por la música3811He gave private lessons and taught at a private music school. He was also a professional musician7
2Basket Beat4118Although all his experience relates to his project, he emphasizes that he has worked with a wide range of people, including prisoners, drug users and children18
3Barrios Orquestados2911She taught early education as an extracurricular activity at a Montessori school11
44 Cordes3920She has taught at music schools, worked as a teacher on other music social projects within the primary education sector, and subsequently as a secondary school teacher5
5Etorkizuna Musikatan223She was teaching assistant. She has also given private lessons3
6La música del reciclaje6532He has taught at primary schools and at a private music school. He has worked as a teacher and as the director of a conservatoire15
7Musiquem3815Teacher and head of a music school5
Table 3. System of categories and subcategories. The final coding framework was organised around five interconnected dimensions of professional development.
Table 3. System of categories and subcategories. The final coding framework was organised around five interconnected dimensions of professional development.
Central ThemeCategoriesSubcategories
Teacher Professional Development in Social Music ProjectsOngoing processContinuous training
Personal knowledge
Experiential processExperience
Professional experience
Adaptability
Relational processInteractions with colleagues, participants and family members
Group management
Teamwork
Learning processDiverse training
Need for pedagogical training
Expanding knowledge of music education
Interpretative-epistemological processResearch
Understanding experience
Reconstruction of professional knowledge
Disclaimer/Publisher’s Note: The statements, opinions and data contained in all publications are solely those of the individual author(s) and contributor(s) and not of MDPI and/or the editor(s). MDPI and/or the editor(s) disclaim responsibility for any injury to people or property resulting from any ideas, methods, instructions or products referred to in the content.

Share and Cite

MDPI and ACS Style

Llopis-Cuenca, R.; Rementeria, I.; Arriaga, C.; Aguirre, A. Understanding Teacher Professional Development in Social Music Projects: Experiences from the Spanish Context. Educ. Sci. 2026, 16, 1208. https://doi.org/10.3390/educsci16081208

AMA Style

Llopis-Cuenca R, Rementeria I, Arriaga C, Aguirre A. Understanding Teacher Professional Development in Social Music Projects: Experiences from the Spanish Context. Education Sciences. 2026; 16(8):1208. https://doi.org/10.3390/educsci16081208

Chicago/Turabian Style

Llopis-Cuenca, Ruth, Iskandar Rementeria, Cristina Arriaga, and Arecia Aguirre. 2026. "Understanding Teacher Professional Development in Social Music Projects: Experiences from the Spanish Context" Education Sciences 16, no. 8: 1208. https://doi.org/10.3390/educsci16081208

APA Style

Llopis-Cuenca, R., Rementeria, I., Arriaga, C., & Aguirre, A. (2026). Understanding Teacher Professional Development in Social Music Projects: Experiences from the Spanish Context. Education Sciences, 16(8), 1208. https://doi.org/10.3390/educsci16081208

Note that from the first issue of 2016, this journal uses article numbers instead of page numbers. See further details here.

Article Metrics

Back to TopTop