Musical Futures is a pedagogical approach, supported through the development of associated resources and training offers that is designed to be used in classrooms, by teachers, with whatever resources are available, in order to engage every child and young person in meaningful, sustainable music learning.

Musical Futures can be used by any teacher or practitioner working with young people. As it is a set of values, principles and practical teaching and learning strategies, rather than a fixed curriculum, it is proven to be transferable to a range of international contexts.

Our experience comes from over 12 years of designing, applying and adapting Musical Futures informal teaching and learning strategies in classrooms. International events range from presentations and taster sessions, to full training and consultancy packages developed with international organisations to embed, rollout and create sustainable Musical Futures programmes that can be led and managed regionally.

If you are an individual or an organisation and would like to become part of Musical Futures’ global movement, here’s how you can get involved:


If you use Musical Futures in your classroom, sign up to access free Musical Futures resources, create your own personalised library and receive a free fundraising pack to support your work.

If you have developed resources or tools for your classroom please contribute to our Teacher Created Resources bank, or share your experiences by writing a guest blog. Email for submission details.

We have a range of training events specifically designed for international teachers and practitioners to build on our training events across the world. See here for further information. We are also expanding our network of champion teachers and champion schools to support our worldwide community of practice. For further details on hosting, attending or supporting one of our overseas training events please contact


We are keen to work with international organisations with a responsibility for teacher/practitioner training/professional development to help grow and develop Musical Futures regionally. We have 12 years experience of designing, applying and adapting Musical Futures in classrooms, as well as in scaling up innovation, building and sustaining networks of teachers, communications (especially social media), and creating a sustainable business model for local Musical Futures programmes. Our international training and consultancy packages are bespoke and tailored to the local needs of the organisation that we work with. Contact for further details.

International Partners

Musical Futures International Partners are recognised as being the umbrella organisation of high quality Musical Futures provision in their country. They take on a critical role supporting and furthering the ongoing development of Musical Futures through collaborating and fundraising. Currently our international partner is Musical Futures Australia

Keynotes and training

Musical Futures has presented workshops at the following events:

To book a keynote or workshop please contact

Research and reports

We are committed to collating and sharing learning about how Musical Futures has been used by teachers and practitioners internationally. To add to this list please send articles to

  • Find Your Voice: Canada Education by music teacher Sandie Heckel
  • Music Teacher UK interviews MF Australia Director Ken Owen
  • Wright, R., et al (2012) Tuning into the Future: Sharing Initial Insights about the 2012 Musical Futures Pilot Project in Ontario. Canadian Music Educator. 53(4), 14–18
  • Jeanneret, N., Mclennan, R., Stevens-Ballenger, J. (2011) Musical Futures: An Australian perspective. Findings from a Victorian Pilot Study
  • O’Neill, Bespflug, K. (2011) Musical Futures Comes to Canada: Engaging Students in Real-World Music Learning. Canadian Music Educator. 53(2), 25–27
  • Jeanneret, N., others (2010) Musical Futures in Victoria
  • Downey, J. (2009) Informal Learning in Music in the Irish Secondary School Context. Action, Criticism, and Theory for Music Education. 8(2), 46–59