Traditionally, and perhaps inevitably, a person's journey to becoming a teacher is a complex one. Concerns about how music teachers are prepared raise questions about the quality of programmes that prepare pre-service teachers to teach. Within this context we are invited in this issue to reflect upon all phases and experiences of music teaching.

This paper explores the preliminary outcomes of research into the place and role of cultural diversity in primary music classes at five International Schools in Singapore. It highlights the ways in which school philosophy, policy, curriculum and in-service training influence teacher practice. The research provides insights into the challenges teachers face when diversifying their music programmes in addition to the areas of support that allow a programme based on cultural diversity to flourish and remain successful. The results of interviews with music specialists at these schools suggest that music programmes at International Schools in Singapore provide examples of best practice in culturally diverse music education. The success of these programmes is due to several identifiable factors such as strong philosophical and curricula foundations, quality in-service training and the regular involvement of culture bearers and visiting artists.

Drawn from a larger mixed methods study, this case study provides an account of aspects of the music education programme that occurred with one teacher and a kindergarten class of children aged three and four years. Contrary to transmission approaches that are often used in Hong Kong, the case depicts how musical creativity was encouraged by the teacher in response to children's participation during the time for musical free play. It shows how the teacher scaffolded the attempts of George, a child aged 3 years and 6 months, to use musical notation. The findings are instructive for kindergarten teachers in Hong Kong and suggest ways in which teachers might begin to incorporate more creative approaches to musical education. They are also applicable to other kindergarten settings where transmission approaches tend to dominate and teachers want to encourage children's musical creativity.

Research has shown that undergraduate disciplinary study provides new teachers with knowledge schemas derived from their discipline. The key question considered in this article is: what existing disciplinary knowledge do pre-service music teachers call upon to construct their schemas of global education? This is a critical question as global education is introduced to a range of national curriculums. Further, this article investigates ways music disciplinary schemas connect with knowledge, skills and values for pre-service teachers of high school music, and how this influences their approach, understanding and future teaching of global education. The conclusion is that global education, with its knowledge, skills and attitudes, pervades all school subjects and that teaching music incorporates global knowledge, skills and attitudes in quite specific ways.

This study aims to assess the perceived impact of Post-Graduate Certificate in Education (PGCE) music students' engagement in music making outside school on their teaching. Fifty-one students training to become secondary school music teachers in England were asked to report on the perceived impact that their participation in music making outside school had on their lives during their training and on its expected impact as a qualified music teacher. They believed that being musically involved outside school has both personal and professional benefits for them as it has the potential to increase their anticipated job satisfaction as qualified teachers and help them become better teachers. They all expressed a desire to be involved in such musical activities as qualified music teachers because they felt that these can help them maintain their enthusiasm, be more confident and motivated, and keep their technique and performance standards to a high level.

In 1872 John Hullah was appointed Inspector of Music in Training Colleges and his first act was to introduce a practical examination for each of the students. Each year he visited all of the colleges receiving financial aid from the Government to examine the students after which he wrote up his findings in a report for the Committee of Council on Education. These reports, and those of his successor John Stainer, give a unique account of music in the training colleges in the period 1872 to 1899.

This paper draws on the metaphor of ‘workplace landscape’ to highlight the role of institutional values, evidenced within a Greek University Music Department and a Music Conservatoire, in the construction of musical performance teachers' professional identity. Underpinned by a social constructionist framework and within an ethnographic case study approach, the findings revealed that, on the one hand, participating teachers were constrained by the ‘cultural scripts’ within their workplaces, and on the other, that they utilised and appropriated these cultural tools in constructing their professional identity and practice. The findings imply that advanced music training institutions should engage more radically in a critical rethinking of their ‘workplace landscapes’ as settings for professional identity construction in order to ensure that musical identities are most effectively nurtured.

The Editors wish to apologise for the misspelling of Wilfrid Mellers's name and for typographical errors in citing, in this review, the section heading of Part II of the book.