Teaching and learning are complex processes and evaluating the work of music teachers is neither obvious nor simple. The outcomes of educational transactions may not be completely or immediately apparent. Furthermore, the contexts in which musical skills and understanding are acquired are multiple, going well beyond the formal categories of ‘general’ class music teacher or the ‘private’ instrumental and vocal teacher. In many of these alternative settings, standardised student assessment or teacher evaluation processes may be inappropriate. In this paper, an approach to evaluating teaching and learning draws on Swanwick's three principles for music educators. To these three principles is added the need to understand the educational and social context in which a teacher works. These criteria help to identify the ‘good-enough’ teacher's contribution to students' musical development. The concept of the ‘good-enough’ teacher is exemplified, not in the context of conventional formal teaching settings but in a third, much less defined role, that of music leader. The extent to which music leaders contribute to their musical environment is evaluated in a study of their continuing professional development. This evaluation was initiated by Youth Music, a UK organisation working alongside the formal and community-based sectors to support music-making and training.

This article reports on a retrospective study of Finnish pre-service elementary teachers' assessments of their musical experiences in nursery school and elementary and secondary school and real-time study of their experiences in teacher training. The participants (N = 590) had received musical instruction in five age groups (4–6 years, 7–12 years, 13–15 years, 16–19 years, 20–25 years). The assessments were most positive in the 4–6 years group and thereafter declined until puberty in the 13–15 years group. A change in a positive direction was perceived in the 16–19 years group and also in the 20–25 years group (during teacher training). Gender differences were statistically significant except during upper secondary school. The most enjoyable activities in formal music education were singing and playing; music theory was experienced most negatively.

An innovative ICT project called Compose has been implemented in some New Zealand primary schools in an effort to counteract the lack of classroom composition opportunities. Compose combines the use of music software and online learning with attempts to address barriers to primary classroom composition. This article illustrates, through personal narrative, how Compose made successful composition experiences possible for a student in a classroom where no such opportunities had previously existed. The project led to the student acquiring compositional skill and knowledge and a positive music self-concept. Though it is not possible to generalise from a single case study, the findings indicate that Compose could offer a potentially viable way to increase classroom composition learning opportunities.

This article is the documentation of a sub-research question of a larger empirical study that employed quantitative methods to identify variables that are impacting on the delivery of music in the learning area Arts and Culture in South Africa extrapolated from questionnaires. Analysis of the data revealed that educators lack specialisation in music and have limited training in any of the art forms. Significant relationships were established between the educator and involvement in music activities within and outside of the school environment.

The article explores curriculum change in Scottish schools between 1978 and 2000 and its impact on learning and teaching. This period produced far reaching alterations to music curriculum thinking and practice. However, there is presently only limited reference within music education literature to strategies that either support or enhance our understanding of the change process. An attempt is made to address some of these omissions, to identify the conditions that most effectively foster and manage change and so establish a clearer basis for future studies. The wider implications of music curriculum change for classroom practitioners are considered, together with conclusions and implications concerning future curriculum policy in this area.

Whilst a rationale for the content and organisation of knowledge in a standardised curriculum may be clearly articulated at official policy level, factors may come to bear on a teacher operating at a local level which may work against the successful implementation of the curriculum on the ground. Drawing on a Bourdieuan notion of cultural field, ‘habitus’ and cultural capital to examine commonality and difference in teacher practice in an Irish primary school context, the paper reports on a study which highlights the role played by formative experiences in shaping the responses of primary teachers to performance and music literacy.