Thesis supervision

Extended piano techniques and playing inside the piano are closely connected to the aesthetic concerns of modern music and the expansion of the instrument’s expressive potential. In this context, the piano is viewed not just as a keyboard instrument but as a complex sound-producing entity whose strings, materials, and various modes of activation can be creatively explored in musical practice. Despite the significance of these practices for contemporary piano expression and music education, their inclusion in systematic piano teaching remains limited, especially in school settings. Based on this observation, the present thesis investigates the design and implementation of practices involving extended techniques and playing inside-piano strategies in piano lessons at the Music Middle School, aiming to assess their pedagogical and interpretive value.
The study employs a qualitative research design and is structured as a case study conducted at a public music school. It involves four female students in lower secondary education who participated in individual piano lessons. The educational intervention lasted five weeks and was based on specially developed teaching materials and the pedagogical guide “From Key to String.” Data collection methods included participant observation and field notes, lesson recordings, semi-structured individual interviews, and students’ written reflective texts. The analysis of the data identified four principal thematic areas: creative exploration of sound and timbral imagination; embodied learning and the redefinition of the relationship with the piano; agency, self-regulation, and the management of learning challenges; and evolving attitudes toward contemporary music and participatory musical experiences.
The findings reveal that students’ engagement with these practices is associated with creative experimentation, greater expressive freedom, a more immediate, embodied connection with the instrument, and a more positive attitude toward contemporary music. The study demonstrates that incorporating extended techniques and inside-piano strategies into piano lessons can expand the scope of instruction and promote more open, creative, and participatory forms of music education within the Music School environment.
Keywords: extended piano techniques, inside piano techniques, piano lesson, Music School, case study, creative learning

Rapid technological advancement in contemporary society is transforming the educational landscape and necessitating the adoption of innovative pedagogical methodologies. The STEAM model, on an international scale, embodies an approach to the creative integration of the arts within interdisciplinary learning contexts, particularly in relation to science and technology. This thesis investigates the attitudes and perceptions of music educators in Greece regarding the implementation of the STEAM model in music education.
The objective of this study is to evaluate music educators' attitudes and perceptions concerning the STEAM model, with specific emphasis on their familiarity with it and their perspectives on the pedagogical benefits it may provide to music education. More precisely, it aims to determine how music teachers assess the skills they believe are developed through this approach, as well as the prerequisites necessary for incorporating music into an interdisciplinary learning environment.
The study adopts a mixed-methods approach, combining quantitative trend mapping with qualitative interpretive analysis of experiences and application examples. A total of 55 music teachers participated, representing primary and secondary education, as well as music schools and conservatories. Data were collected using a questionnaire comprising closed-ended Likert-scale items and open-ended questions. The analysis included descriptive statistics, comparative tests, correlations, and multiple linear regression, as well as a thematic analysis of the open-ended questions.
The data analysis reveals that music educators associate the implementation of STEAM with fostering creativity, promoting interdisciplinary collaboration, integrating digital tools alongside physical materials, and practices that augment experiential learning. Concurrently, the perceived advantages of STEAM are highly esteemed, and a robust intention exists to incorporate it into music education processes. Moreover, multiple linear regression analysis indicates that the intention to use STEAM practices in the future is primarily predicted by perceived benefits, whereas familiarity and perceived implementation conditions make considerably smaller, non-significant contributions.
Professional development, material and technical support, available teaching time, and the fostering of a collaborative school culture are also identified as critical conditions. Although music teachers report low familiarity with STEAM, they recognize its benefits and pedagogical value and express a willingness to incorporate it in the future. Overall, the findings indicate a positive reception of STEAM in music education, underscoring the need to systematically increase familiarity and enhance the conditions for its implementation. Accordingly, the findings of this study may serve as an initial reference point for evaluating the current state of STEAM in music education and can inform the development of professional development initiatives that provide institutional and substantive support to music educators.

Songwriting constitutes a form of musical creation that integrates language, melody, rhythm, and performance, providing an educational context in which musical knowledge is cultivated through active engagement, collaboration, and the process of meaning-making. In primary education, this practice holds significant pedagogical importance as it can leverage voice, play, imagination, and collective activity as essential drivers of participation and self-expression. The objective of this research was to examine the role of songwriting within Greek primary music education, emphasizing music educators’ perceptions of its pedagogical significance, their instructional practices, the challenges they report, and the types of support deemed necessary. The study utilized a sequential mixed-methods research design, commencing with a quantitative survey via a questionnaire, and subsequently proceeding to comprehensive semi-structured interviews. The quantitative stage engaged 32 music teachers, while the qualitative stage involved a purposive sampling of participants to thoroughly explore their experiences and interpretative processes.
The findings demonstrate a highly favorable assessment of the pedagogical value of songwriting, with a distinct emphasis on socio-emotional advantages over strictly musical outcomes. Despite this robust endorsement, the implementation within classroom settings appears largely inconsistent. The analysis was categorized into three thematic areas: pedagogical perceptions and perceived benefits, classroom practices and the role of the teacher, and challenges alongside support requirements. The most commonly reported practices encompass collaborative lyric composition and improvisation, with the teacher primarily serving as a facilitator, guide, and editor or curator. Major challenges are associated with structural limitations, notably time constraints and equipment availability, while a pronounced need for institutional support, professional development focused on practical application, and enhanced collaboration or communities of practice is evident.
Overall, the study indicates that songwriting is regarded as a pedagogically impactful practice within primary education. However, its more consistent integration into daily school activities is contingent upon institutional backing and methodological support.

This study explores the pedagogical role of youth orchestras through a case study of the Athens Youth Symphony Orchestra. The aim of the research is to examine how former members of the orchestra experience and interpret their participation as a learning, social, identity-forming and pre-professional experience. The study follows a qualitative case study design and draws on five semi-structured interviews with former members of the orchestra. The data were analyzed through thematic analysis, with emphasis on the participants’ narratives and on the meanings, they attribute to their orchestral experience.
The findings indicate that participation in a youth orchestra constitutes an experiential process of orchestral learning. Rehearsal, mutual listening, synchronization, repertoire and adjustment to the ensemble contribute to the development of musical skills and orchestral awareness. At the same time, the pedagogical and interpersonal climate of the orchestra appears to be shaped through relationships of trust, guidance, collaboration and encouragement. This experience strengthens participants’ musical identity and sense of belonging, as the orchestra is experienced as a community of recognition, friendship and emotional safety. In addition, participation acquires a pre-professional dimension, as members become familiar with expectations, attitudes and working practices related to the orchestral field, without this necessarily implying a professional career in an orchestra.
Overall, the study highlights the youth orchestra as a complex music-pedagogical environment in which musical learning, collective artistic practice, social relationships, identity formation and pre-professional preparation coexist. The case of the Athens Youth Symphony Orchestra contributes to the understanding of organized youth music ensembles as spaces of learning, community and gradual musical development.

This thesis investigates the experiences of professional musicians in relation to music performance anxiety (“MPA”). MPA is an issue that directly affects musicians of various ages and levels of musical expertise before, during, or even after a musical performance. Although international literature has extensively examined the prevalence, symptoms and interventions for managing this phenomenon, there has been a limited number of studies focusing on musicians’ personal experiences.
The aim of this research is to explore the experiences of professional musicians, focusing on how MPA evolves throughout their careers, the influence of the educational context, and the coping strategies they develop.
A qualitative methodology was employed for the study. The primary data collection tool consisted of narrative interviews, which provided rich insights into the musicians’ personal experiences. Participants were selected through purposive sampling, and the sample consisted of four professional pianists. The data were analyzed using thematic analysis.
The results indicated that MPA is a complex and subjective experience that changes throughout a musician’s professional journey and is influenced by factors such as the musician’s experience and the significance of the performance. The study also highlighted the impact of the educational environment, as a lack of support and a competitive environment may exacerbate MPA. Finally, musicians appear to develop various coping strategies tailored to their personal needs, gradually accepting MPA as a natural part of performance.
This thesis aims to contribute to the understanding of MPA among professional musicians and to emphasize the importance of a supportive environment and the development of effective coping strategies.