European educational system and the Bologna reform had the effect that  training of future instrumental and vocal professors were standardized in Switzerland. A "Master of Arts in Pedagogy" was created in Swiss Music Universities, with the sudden apparition of didactics (instead of "pedagogy") in the study plans. For more than 10 years now, Violin Didactics and Cello Didactics are taught by different professors. And, of course, Pianists, Clarinetists and Oboists haven't the same Didactic Professors...

The aim of our 2 years long research (just finished in January 2017) was to analyze the profesionalization process of the music students, who'll become instrumental or vocal teachers in music schools. And we did this analyze through the observation and filming of 104 videos. What did we observe?

- The way Didactic Professors define the knowledge contents and the typical knowledge necessary to teach;

- The way their students, in turn, define the knowledge contents when they act as a instrumental or a vocal teacher, with their pupil (invited in the Didactic Course);

- The changes that occur in the use of definitions by the actors, during one semester.

Our first hypothesis was that it's possible to bring out different models of professionalization in these Didactic courses, in spite of quite similar curriculums. The fact that our observations took place in five different cities of Switzerland, with theree different languages spoken (german, french and italian), on one hand, and the fact that the wind instruments and the singing voice have to deal with a solid and subtle breathing technique, on the other hand, were reasons for assuming this.

Our second hypothesis was that it was possible to objectify the didactic progression of the students, coding the definitions they used during a few monthes.

Our third hypothesis was that it's possible to establish if the didactic actions of the professor and of the student are linked or not.

From a didactical point of view, the process by which a prospective music teacher becomes a professional instructor remains largely unexplored. Based on the didactical model of joint action theory in didactic (JATD) theorized by Sensevy, we tackled the issue of the interactions between professional teachers and prospective professional teachers during the training period of the latters. Practically, we addressed the following research question: do professional music teachers vary their use of didactic variables according to the kind of instruments they teach during regulatory sessions with prospective professional teachers?  In order to answer this issue, we videotaped 57 music lessons and 47 feedbacks and coded the didactic gestures of both professional and prospective teachers (https://www.unige.ch/fapse/dam/recherche/donnees/professionnalisation-enseignants/). Our results strongly suggest that the didactic environment (in this case, the type of instruments taught) has an impact on the way professional teachers conduct the feedback sessions. Blowing instruments professional teachers use more definition variables related to the tasks than their colleagues teaching non-blowing instruments. The origin of that difference seems to lay in the more rigid structure of singing and brass music lessons, where the tri-partition “warm-up, exercise, music performance” is the rule. We conclude that the didactic environment has an impact on the professionalization process of prospective music teacher and that this parameter should be taken into account in any further research in this field.

Ball, D. L., & Bass, H. (2003). Toward a practice-based theory of mathematical knowledge for teaching. In B. Davis, & E. Simmt (Eds.), Proceedings of the 2002 annual meeting of the Canadian Mathematics Education Study Group (pp. 3–14). Edmonton, AB: CMESG/GDEDM. Ball, D. L., Thames, M. H., & Phelps, G. (2008). Content knowledge for teaching: What makes it special? Journal of Teacher Education, 59(5), 389–407. Bucheton D (ed). (2009). L’agir enseignant: des gestes professionnels ajustés. Toulouse. Octares Editeurs. Elpus K. (2015). Music Teacher Licensure Candidates in the United States. A Demographic Profile and Analysis of Licensure Examination Scores. Journal of Research in Music Education, 63: 314-335. Fleck L. (1934/1979). Genesis and development of a scientific fact. Chicago: The University of Chicago Press. Leplat J. (2004). L’analyse psychologique du travail. Revue européenne de psychologie appliquée, 54: 101–108. Lorenz K. (1994). Pragmatic and semeiotic: the percean version of ontology and epistemology, In G. Debrock and M Hulswit (eds.). Living Doubt (p. 103-108). Dordrecht : Kluwer Academic Publishers. Pastré P, Mayen P, Vergnaud G. (2006). La didactique professionnelle. Revue française de pédagogie, 154 : 145-198. Porter AM, Payne PD, Burrack FW, Fredrickson WE. (2016). Encouraging Students to Consider Music Education as a Future Profession. Journal of Music Teacher Education, January 13, doi: 10.1177/1057083715619963. Sensevy G. (2001). Théories de l’action et action du professeur. In Baudoin JM et Friedrich J (eds). In Théories de l’action et éducation, (pp 203-224). Bruxelles: De Boeck. Sensevy G. (2010). Outline of a joint action theory in didactics. Proceedings of CERME 6, January 28th-February 1st 2009, Lyon France © INRP 2010. http://ife.ens-lyon.fr/publications/edition-electronique/cerme6/wg9-12-sensevy.pdf Sensevy G. (2011). Le sens du savoir. Eléments pour une théorie de l’action conjointe en didactique. De Boeck Supérieur ; Perspectives en éducation et formation. Sensevy G, Mercier A (eds). (2007) Agir ensemble. L'action didactique conjointe du professeur et des élèves. Rennes : Presses universitaires de Rennes. Sensevy G, Mercier A, Schubauer-Leoni ML. (2000). Vers un modèle de l’action didactique du professeur : à propose de la Course à 20. Recherches en didactique des mathématiques. 20(3) : 263-304. Wittgenstein L. (1997). Philosophical Investigations. Oxford: Blackwell.