Two themes emerge from the articles in this issue. First and foremost is that of the centrality of the learner and the importance of the development of learner agency in any music education context that seeks to lay claims to inclusivity and diversity. The second is the most effective pedagogical approaches to supporting the development of composing.

John Paynter's death this year has deprived British music education of its most inspirational advocate during the second half of the 20th century. John's teaching in primary and secondary schools during the 1950s played a major role in shaping his vision of music at the heart of the curriculum. With his ear for an apt phrase, John loved to quote American novelist Toni Morrison's description of the wonderful presence and power of music as ‘a way of being in the world’. During the 1960s, John trained teachers in colleges in Liverpool and Chichester, before joining the innovative music department at the University of York, where he remained until his retirement in 1997. It was with the publication in 1970 of Sound and Silence that his years of pioneering work with children and older students came to fruition and the force and originality of his ideas about music education made their first big impact.

In this article, we argue that the musical schooling of immigrant students could be seen as forming a healthy test for any educational context in terms of how democracy is enacted. We engage in a discussion linking music education, agency, pluralism and democracy. In our theoretical reconstruction of multicultural music education we first make a review on how music education literature has approached the cultural and musical schooling of immigrant students. We then attend to sociological theories to discuss why development of musical agency may be of particular importance to first generation immigrant students and how agency-enhancing music education may be connected to the development of sound democratic practices in the 21st century schooling.

Almost every Finnish child and adolescent takes an interest in music in some form. However, many young people feel dissatisfaction with what music education institutions provide and fail to find them motivating. According to the results of a series of empirical studies, school music education can have a negative effect on many pupils and undermine their musical self-esteem. At the music education institutions where this research was undertaken, music was narrowly defined and there was an absence of contemporary music cultures. Forms of music making were limited and active music listening absent from lessons. Assessment too was a problem with many pupils feeling that the evaluation of their work lacked legitimacy and fairness.

This paper discusses an exploration of the working lives of musicians working in a range of musical genres in the North East of England, revealing the factors that contribute to their ability to obtain a musical livelihood. These factors can be understood in terms of various forms of social, cultural and symbolic ‘capital’ (Bourdieu, 1986), which musicians amass throughout their lives, from early childhood and family influences to starting out in the music world and beyond. The accrual of such ‘musical capital’ is shown to be associated with the quality of musicians’ learning experiences and the findings are offered as having potential relevance to music education policy and practice. It is concluded that a wider range of teaching methods, including the recognition of different types of music and ability, could encourage more young people to remain involved in music learning and give musicians clearer signposts for embarking on a career in music.

This paper explores models of teaching and learning music composition in higher education. It analyses the pedagogical approaches apparent in the literature on teaching and learning composition in schools and universities, and introduces a teaching model as: learning from the masters; mastery of techniques; exploring ideas; and developing voice. It then presents a learning model developed from a qualitative study into students’ experiences of learning composition at university as: craft, process and art. The relationship between the students’ experiences and the pedagogical model is examined. Finally, the implications for composition curricula in higher education are presented.

We know that pupil talk is an integral part of the learning process. Previous research has not viewed affective engagement in a music composing task as a vehicle for developing higher order discourse skills. The aim of this study is to evaluate the significance of teacher questioning in encouraging quality dialogue with children during music composing. This paper reports on an empirical study investigating dialogue with young children during an imaginative music composing task. Pairs of children aged 6 and 7 years were audio recorded as they talked to each other and the researcher about the task. The dialogues between the researcher and the pupils highlight the importance of teacher questioning in encouraging young children to engage in evaluative talk and problem solving, through discussion and musical experimentation. Significantly, the findings suggest that young children are able to reflect on the learning process through meta-cognitive thinking. The findings highlight the significance of the role of the teacher in scaffolding and encouraging children's thinking and learning through dialogue, and the importance of talk and evaluation as a part of reflective music composing activities.

The introduction of a National Curriculum to England and Wales in 1988 provided the first compulsory framework for music education. Writing in 1996, Mills suggested that in ten years time the impact of this change would result in primary school student teachers needing refreshment, and not development, of their musical knowledge. This five-year study examines primary school student teacher's knowledge of the musical elements as they entered the one year Post Graduate Certificate in Education (PGCE) course in one institution. The results suggest that some elements as defined by the relevant national curricula (duration, pace, pitch and silence) do indeed need only refreshment, but others (timbre, texture, dynamics, structure) need significant development in schools and in training courses.