Several of the articles in this issue encourage us to re-think taken for granted attitudes and practice, to jolt us out of complacency. Take ‘creativity’ for example. The word tends to get bandied around as a catch-all, so that it loses touch with any specific meaning. Jere Humphreys, in his Point for Debate, ‘Toward a reconstruction of ‘creativity’ in music education’ takes the long view, and ranges from Socrates, Plato and Aristotle to postmodernist ideologies. The basic tension (dualism) he identifies as being between realist and idealist positions, which leads him to conclude that creativity needs to be understood as a social construct. But there are no quick-fixes: to comprehend its significance requires us to consider psychological, cultural, and political/social and economic factors. Likewise,words such as ‘tradition’, ‘authenticity’ and ‘context’ tend to have politically correct connotations in connection with world music. But Huib Schippers, in his paper maintains that almost all music is transmitted out of context, and that the formal education system is a major exercise in recontextualisation. Music educators have to come to terms with what he calls the ‘global flow’.

Distributing one's music and discussing music-related topics at dedicated web sites have become a common practice for today's young musicians. Technological advances allow both easy production of music at computer-based home studios and free distribution even at a global level. An online survey was conducted to shed light on the reasons for participating in an online music community. The results indicate that although social reasons existed, musical reasons were the most important motives for taking part in the community. The participants were on average fairly active musicians, but only a minority of them had formal musical training.

This article reports on an exploratory investigation of the relationship between prior experience of formal instrumental music tuition (FIMT) and the process of collaborative computer-based music composition. The study linked a school in the UK with a school in Norway to engage in computer-mediated collaborative composition via e-mail. Participants were grouped into composing pairs (one from each country) balanced for prior musical experience. Results revealed prior experience of FIMT was associated with extended and complex musical dialogues, critical engagement with musical ideas and produced an ‘exploratory’ environment. No prior experience of FIMT was associated with uncritical and descriptive dialogues and a ‘cumulative’ environment. Proposals for future research are discussed.

The pathway to excellence is turbulent and aspiring musicians must cope with the ‘ebb and flow’ of development if they are to realise their potential. With this in mind, internationally renowned musicians were interviewed in order to identify the challenges of each stage of musical development and the psychological characteristics that can enable aspiring musicians to sustain this developmental process. Results suggest that while certain psychological characteristics are salient throughout the career and facilitate continued development, others are especially important at key stages and critically at key transitions. This research satisfies more than academic interest, as findings should sensibly inform music educators about the skills and characteristics required by aspiring musicians at key stages during the learning process.

Children hear music in the background of a large variety of situations and activities. Throughout development, they acquire knowledge both about the syntactical norms of tonal music, and about the relationship between musical form and emotion. Five to six-year-old children heard a story, with a background ‘happy’, ‘sad’ or no melody. Results show that background music affected children's interpretation of the story: ‘happy’ background music led to positive interpretations, whereas ‘sad’ background music led to more negative interpretations of the story. The effect of ‘happy’ music was stronger than that of ‘sad’ music. Implications for education are discussed.

Fifteen-sixteen years old Fenno–Swedish compulsory school pupils' written descriptions of ‘strong’ experiences were used for comparing (a) the frequency of experiences related to music and to other aesthetic areas (literature, drama etc.) and (b) the frequencies of music experiences related to different basic modes of confronting music: receptively (listening to live or technically reproduced music) or by productive activities (performing etc). In at least moderately urbanised regions, music was the art area most frequently evoking experiences. The ‘non-art’ area of nature was also important especially in some female and rural subgroups. Most music experiences related to listening, but a fifth involved performance activities. Among other things, attention was directed to the role of the school in preparing its pupils for music experiences, to the importance of productive activities, and to some problems regarding the efficiency of audiovisual media to evoke music experiences.

The encounter – and sometimes confrontation – of music with various cultural backgrounds challenges many preconceptions and prejudices on music making and learning. The rise of what is now often called ‘world music’ has not only brought new sound worlds to Western ears, but digs deep into existing systems of belief. In discussing both Western classical and world music, concepts such as tradition, authenticity and context are often used with firm conviction. On closer examination, however, they are applied with ambiguous or even contradictory meaning. A cross-cultural exploration of these concepts reveals that they are not nearly as clear, stable and value-free as they may appear. A more dynamic interpretation of these terms is needed to understand contemporary realities of music making and education at all levels, and to enable teachers to apply these concepts to everyday studio and classroom practices.

Creativity in human endeavours is being discussed and promoted in many fields and venues throughout the Western world. In this paper I discuss reasons for the current emphasis on creativity, especially in music education. I also describe some philosophical, psychological, cultural, and political/social/economic factors that have worked for and against the teaching of creativity in school music programmes, while recognising that technology also plays an important role.

No poet shall compose anything in contravention of the public standards of law and right, honour and good…

–Plato (Laws: VII: 28)