The British Journal of Music Education has always aimed to offer a variety of perspectives on musical teaching and learning, and in this issue the diversity of researcher and participant voices is wider than ever before. Most notably, we hear from a 12-year-old researcher, Eleanor Denny, whose project on extracurricular musical participation was carried out at the Children's Research Centre at the Open University. As John Finney says in his response to Eleanor's work, equipping young people with research skills leaves them ‘empowered to ask ever more interesting, challenging and sometimes uncomfortable questions’. The growing literature on ‘pupil voice’ in educational research invites us to consider, not just the views of the young people involved in musical learning, but also our own position as researchers and our responsibilities to those who inform our research and writing.

This article explores music conservatoire undergraduates' career aspirations and notions of their pedagogical training, through biographical interviews with 16 students from the School of Wind and Percussion, Royal Northern College of Music. Findings suggest that pedagogical training, which begins in the second college year, serves as a catalyst for changes in career orientation. Students begin, however, with limited intention of teaching. Performance is commonly their focus at the outset. Furthermore, boundaries are perceived between conservatoires which offer elite performance training, and those with a broader curricular base. The practicalities of attracting future students, whilst offering apt and substantial pedagogical erudition within a performance-centred arena, are explored.

Despite recent moves toward a more collaborative relationship between the academic pursuit of music analysis and the practical pursuit of music performance, there remains a gulf between the two disciplines. This is partly because attempts at collaboration have generally focused on the use of music performance as a way of teaching music analysis rather than the use of music analysis as a way of teaching aspects of music performance. This article describes the development of a resource for teaching musical awareness using analytical techniques and assesses how this relates to teachers' own concerns and practices.

During 2003/4 a team from the University of Central England in Birmingham (now UCE Birmingham) undertook an evaluation of student perceptions of their music courses as part of the Birmingham and Solihull Learning and Skills Council review of music in the area. As well as identifying the wide range of courses available in the locality and students' perceptions of the teaching and learning they undertook, the research uncovered some significant issues about the nature of musical learning for those aged 14+ and the pathways and guidance that they received both before and during their courses of study.

The first British patent describing an educational game designed for musical ‘amusement and instruction’ was granted in 1801 to Ann Young of Edinburgh, Scotland. The authors' discovery of Young's game box has prompted an examination of the nature and purpose of the six games she designed. Ann Young's patent is discussed in the context of her cultural environment, the history of women inventors, and eighteenth century educational theory. The activities are compared with musical instruction games recently patented in the UK and the USA.

This study explores the musical content and human processes of improvisations of children and adults using the phenomenological lenses of time, space and responsivity. Paired improvisational performances of two late-career adult composers and two 7-year-old children were analysed considering a lifespan-related perspective involving the origins of spontaneous musical creativity associated with childhood dispositions and the musical expertise gained from practice, training and experience. Findings suggest that origins and expertise are operating in improvisational experiences of children and adults. Implications are drawn for musically meaningful research and evaluation of children's improvisations.

I undertook this project as a 12-year-old student while studying research methods at the Children's Research Centre at the Open University. It has already been shown that doing music improves children's Mathematics and English scores. The aim of this study was to find out if it also raises the aspirations of the children taking part. A questionnaire was given out to 80 Year 7 children at two schools in Milton Keynes. Questions investigated the children's musical participation and future aspirations as well as their parents' attitudes and education.

The most important findings are that the musical participation of the children is positively correlated with their future aspirations. Musical participation is most closely linked with parental enthusiasm for it. Parental pressure and education were found to have no link with musical participation, but families with low incomes may find affording musical activities hard to maintain.

It is recommended that more money be put into music education so children of low socio-economic backgrounds can have more of a chance to play musical instruments.

Attend a conference of music educational researchers and you will have entered a field of enquiry concerned to understand and explain the issues and problems identified by those who move within the field of enquiry. The inhabitants of this realm sometimes speak of young people, sometimes reveal the ways in which they have consulted them, probed their ways of seeing and allowed their voice to speak. In rare circumstances the researcher may have negotiated a relationship involving a shared interest enabling the young person to work alongside them as co-enquirer. However, in general, social enquiry has been slow to move from treating young people as objects of enquiry to co-enquirer. The researcher will be speaking from a position of power with the authority to make legitimate some knowledge and not other. It is the adult researcher who poses the questions and presents the problems and who works in response to data and findings that accrue from the efforts of other adult researchers. Beyond this the adult researcher engages in research activities with a particular view of childhood, with a construct of how children are and in what ways they can inform an adult world. While childhood is of course a contested concept, it is suggested that the notion of child as dependent remains the most enduring and durable.