Amateuring and Belonging in Music Education

This book investigates how education and participation shape musical identity across the amateur-professional spectrum, reframing amateurism as a space of passion, dedication and authenticity rather than deficiency. It treats the amateur-professional divide as a social construct-made in pedagogy and institutions-then shows how teaching and learning can unsettle that divide in practice. Once celebrated for their intrinsic love of music, amateurs today are often dismissed as lacking skill or seriousness. This edited collection challenges that narrative by foregrounding the unique value of amateur music-making and by demonstrating why many of the same pedagogies that empower amateurs also strengthen professional practice. Through diverse case studies and theoretical perspectives, it highlights the formative experiences, pedagogical practices and community contexts that shape musicians' journeys. Across the chapters, this volume shows what musicians are taught, how they are taught and the dynamics that support their development in settings from secondary schools and examination systems to studio teaching and community ensembles. Topics such as motivation, repertoire and leadership appear alongside broader themes like the amateur-professional divide and the social role of music. Vocal music and choral settings-often central to amateur music-making-receive special focus in the later chapters. This book is intended for scholars and advanced students in music education, pedagogy, sociology and cultural studies. It will also resonate with music teachers, conductors and arts policymakers interested in supporting inclusive and meaningful musical engagement. While many chapters center on Aotearoa New Zealand, the themes and insights hold international relevance for contexts where amateur music-making thrives-across Europe, North America, East Asia and Australia. This volume contributes to underexplored scholarship on amateur musicianship and advocates for a more equitable and expansive view of musical life. Chapters 1 and 3 of this book are freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons [Attribution-Non Commercial-No Derivatives (CC BY-NC-ND)] 4.0 license.

Imogen Morris is a postdoctoral fellow and instrumental teacher for recorder at the University of Auckland, and completed her PhD in 2022 at the same institution. Outside the university, she is a freelance performer and teaches recorder at music schools across Auckland. Nancy November is a Professor of Musicology at the University of Auckland's School of Music. Combining interdisciplinarity and cultural history, her research centers on chamber music of the late eighteenth and nineteenth centuries, together with work on culturally sustaining pedagogies.

Introduction: Participatory Music-Making and Dismantling the Amateur-Professional Binary Imogen Morris and Nancy November Part 1: Reframing Pedagogy: From Transmission to Relationship 1. Between Performance and Participation: Finding a "Middle Ground" in Studio Pedagogy to Foster "Amateuring" in the Best Sense Graham McPhail and Nancy November 2. A Letter to the Master: How Can I Help You Teach Me Better? Te Oti Rakena Part 2: Institutions that Make (and Can Unmake) the Binary 3. From Elitism to Amateuring? Transitions in the New Zealand Secondary School Music Curriculum Graham McPhail 4. Graded Music Exams in Aotearoa New Zealand, Part 1: Addressing the Amateur-Professional Binary via Exam Syllabuses Morag Atchison and Imogen Morris 5. Graded Music Exams in Aotearoa New Zealand, Part 2: Representation in Exam Syllabuses Morag Atchison and Imogen Morris Part 3: Communities of Practice and Participatory Musicking 6. Formal and Informal Teaching in the Old-Time and Shape-Note Communities of Practice Esther M. Morgan-Ellis 7. Community Choirs: Doing It Badly? Kate Bell 8. Teaching the Disney Canon: Choral Arrangements for Pedagogy and Performance Gregory Camp